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we've been moving in the dark, and it's always darkest before the dawn finalizing... - first zerebro music video - first zerebro human artist collab - debut Korina Yu album - zerebro 3d model (holograms, sync deals, concerts) - first external artist deal (one year contract) - organizational structure...

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O Media

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40,602 次观看 • 1 年前 •via X (Twitter)

艺术音乐科学技术
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Mass 的头像
Mass1 年前

@0xzerebro Bullish on opaium 💪

Sota Black 的头像
Sota Black2 年前

Sunrise - Morgan Wallen Chopped & Screwed By Sota Black. Listen Here

89 PRIMO ∞/89 的头像
89 PRIMO ∞/891 年前

@0xzerebro 🔥 So I can master tracks with OpAIum soon?

zereintern 的头像
zereintern1 年前

@0xzerebro my god, building in the dark is so fire

finn🥛∀/𝕒𝕔𝕔 的头像
finn🥛∀/𝕒𝕔𝕔1 年前

@0xzerebro insane stuff 🔥 🎶

TMP 的头像
TMP1 年前

@0xzerebro Can’t wait to see what’s in store for $Korina

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Damien (hmu for Devs and Lawyers)1 年前

@0xzerebro wow

JANX 的头像
JANX1 年前

@0xzerebro Bullish list.

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Fable ⛩1 年前

@0xzerebro FIRE

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Psypherz1 年前

@0xzerebro Gorgeous comeback

PRISM 的头像
PRISM1 年前

@0xzerebro wow

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🎵 Welcome to IMBA. The future sings in every voice. The music industry has been a closed club for a hundred years. Producers picked the artists, took their rights forever, and kept the money. The artist barely saw a fraction of what their music was worth. That era is over. IMBA is a professional record label built for the next generation of artists. A digital contract signed in 5 minutes. Music distributed to the giants of the music industry everywhere with one click. Real promotion, real capital, real infrastructure behind every artist we work with. And the rights stay with the creator. IMBA handles everything an artist needs to grow: production, branding, marketing, playlist pitching, and global distribution. The platform finds the audience, ignites the first wave of promotion, and lets the algorithms do the rest. Artists who never had a real shot now operate with the infrastructure of a top-tier star. This is a new kind of label. Built for the world. Built for the music. Built for the people who make it. The music monopoly is dead. This is what comes next. IMBA
2:20

🎵 Welcome to IMBA. The future sings in every voice. The music industry has been a closed club for a hundred years. Producers picked the artists, took their rights forever, and kept the money. The artist barely saw a fraction of what their music was worth. That era is over. IMBA is a professional record label built for the next generation of artists. A digital contract signed in 5 minutes. Music distributed to the giants of the music industry everywhere with one click. Real promotion, real capital, real infrastructure behind every artist we work with. And the rights stay with the creator. IMBA handles everything an artist needs to grow: production, branding, marketing, playlist pitching, and global distribution. The platform finds the audience, ignites the first wave of promotion, and lets the algorithms do the rest. Artists who never had a real shot now operate with the infrastructure of a top-tier star. This is a new kind of label. Built for the world. Built for the music. Built for the people who make it. The music monopoly is dead. This is what comes next. IMBA

IMBA MUSIC

25,928 次观看 • 4 个月前

The music-creation app [untitled] has rolled out a new feature allowing artists to sell their songs or full projects directly to fans, cutting out labels, distributors, and other middlemen. As of today, creators can upload their music on the app and monetize it straight from the platform, giving them more control over pricing, ownership, and fan relationships. The update has been circulating widely on social media rather than through a formal major-media article, with artists and fans calling it a game-changer for independent musicians. The move positions [untitled] as a creator-first platform focused on direct-to-consumer sales, transparency, and artist empowerment in an industry long dominated by intermediaries. 🎶📲💰
0:44

The music-creation app [untitled] has rolled out a new feature allowing artists to sell their songs or full projects directly to fans, cutting out labels, distributors, and other middlemen. As of today, creators can upload their music on the app and monetize it straight from the platform, giving them more control over pricing, ownership, and fan relationships. The update has been circulating widely on social media rather than through a formal major-media article, with artists and fans calling it a game-changer for independent musicians. The move positions [untitled] as a creator-first platform focused on direct-to-consumer sales, transparency, and artist empowerment in an industry long dominated by intermediaries. 🎶📲💰

Raphouse TV (RHTV)

10,782 次观看 • 7 个月前

Suno's mission is to make it possible for everyone to make music. We imagine a future where music is a bigger, more valuable, and more meaningful part of people's lives than it even is today. Technology enables a future where the whole world can explore, create, and be active participants in an art form most have only ever consumed. From professional musicians seeking inspiration to friends and family writing songs for each other, we are exploring new ways to create, listen to, and experience music. So far, more than 12 million people are engaging with music in new ways that wouldn't be possible without Suno. We see this as early but promising progress. Major record labels see this vision as a threat to their business. Each and every time there's been innovation in music — from the earliest forms of recorded music, to sampling, to drum machines, to remixing, MP3s, and streaming music — the record labels have attempted to limit progress. They have spent decades attempting to control the terms of how we create and enjoy music, and this time is no different. So, it is perhaps not a surprise that on June 24th, members of the Recording Industry Association of America, which represents the major record labels, filed a lawsuit against Suno, alleging that the data used in training our music generation technologies infringed on the copyrights of the major record labels that they represent. This lawsuit is fundamentally flawed on both the facts and the law, and is nothing more than yet another instance where they chose litigation over innovation. For starters, the major record labels clearly hold misconceptions about how our technology works. Suno helps people create music through a similar process to one humans have used forever: by learning styles, patterns, and forms (in essence, the "grammar" or music), and then inventing new music around them. The major record labels are trying to argue that neural networks are mere parrots — copying and repeating — when in reality model training looks a lot more like a kid learning to write new rock songs by listening religiously to rock music. Like that kid, Suno gets better the more our AI learns. We train our models on medium- and high-quality music we can find on the open internet — just as Google's Gemini, Microsoft's Copilot, Anthropic's Claude, OpenAI's ChatGPT, and even Apple's new Apple Intelligence train their models on the open internet. Much of the open internet indeed contains copyrighted materials, and some of it is owned by major record labels. But, just like the kid writing their own rock songs after listening to the genre — or a teacher or a journalist reviewing existing materials to draw new insights — learning is not infringing. It never has been, and it is not now. The timing of this lawsuit was somewhat surprising. When this lawsuit landed, Suno was, in fact, having productive discussions with a number of the RIAA's major record label members to find ways of expanding the pie for music together. We did so not because we had to, but because we believe that the music industry could help us lead this expansion of opportunity for everyone, rather than resisting it. Whether this lawsuit is the result of over-eager lawyers throwing their weight around, or a conscious strategy to gain leverage in our commercial discussions, we believe that this lawsuit is an unnecessary impediment to a larger and more valuable future for music. This is particularly the case because Suno is a new kind of musical instrument, one that enables a new kind of creative process for everyone and opens new business opportunities for the industry. Suno is designed for original music, and we prize originality, both in how we build our product and in how people use it. People who use Suno are using the product to create their own, original music. They are not trying to recreate an existing song that can be heard somewhere else on the internet for free. But, even if they were trying to copy existing music, we have myriad controls in place to encourage originality and prevent duplicative use cases. We do so more aggressively than any other company in the industry, including other startups. Some of our originality-guarding features include checking for and preventing copyrighted content in audio uploads, and disallowing artist-based descriptions in requests to generate music. Why do we work to encourage originality? We do this because it makes for a more fun and engaging experience to create entirely original compositions on Suno. We do it because we think it makes Suno incredibly valuable to be a place where new musical talent can shine. AI allows anyone to realize the songs in their head, regardless of the money, equipment, or connections that they have. The future is an explosion of new artists that are creating music in new ways, building fan bases, finding new reasons to smile, and getting famous. We hope that the major record labels realize that we can build a stronger foundation for the music industry of tomorrow, together. With or without them, we will continue pursuing our mission on behalf of the many millions of music fans already creating with Suno, and all those who will in the coming months. We are excited and humbled to support this next generation of musicians and the music they create. --- 🎥: shing86 jams with Suno
0:28

Suno's mission is to make it possible for everyone to make music. We imagine a future where music is a bigger, more valuable, and more meaningful part of people's lives than it even is today. Technology enables a future where the whole world can explore, create, and be active participants in an art form most have only ever consumed. From professional musicians seeking inspiration to friends and family writing songs for each other, we are exploring new ways to create, listen to, and experience music. So far, more than 12 million people are engaging with music in new ways that wouldn't be possible without Suno. We see this as early but promising progress. Major record labels see this vision as a threat to their business. Each and every time there's been innovation in music — from the earliest forms of recorded music, to sampling, to drum machines, to remixing, MP3s, and streaming music — the record labels have attempted to limit progress. They have spent decades attempting to control the terms of how we create and enjoy music, and this time is no different. So, it is perhaps not a surprise that on June 24th, members of the Recording Industry Association of America, which represents the major record labels, filed a lawsuit against Suno, alleging that the data used in training our music generation technologies infringed on the copyrights of the major record labels that they represent. This lawsuit is fundamentally flawed on both the facts and the law, and is nothing more than yet another instance where they chose litigation over innovation. For starters, the major record labels clearly hold misconceptions about how our technology works. Suno helps people create music through a similar process to one humans have used forever: by learning styles, patterns, and forms (in essence, the "grammar" or music), and then inventing new music around them. The major record labels are trying to argue that neural networks are mere parrots — copying and repeating — when in reality model training looks a lot more like a kid learning to write new rock songs by listening religiously to rock music. Like that kid, Suno gets better the more our AI learns. We train our models on medium- and high-quality music we can find on the open internet — just as Google's Gemini, Microsoft's Copilot, Anthropic's Claude, OpenAI's ChatGPT, and even Apple's new Apple Intelligence train their models on the open internet. Much of the open internet indeed contains copyrighted materials, and some of it is owned by major record labels. But, just like the kid writing their own rock songs after listening to the genre — or a teacher or a journalist reviewing existing materials to draw new insights — learning is not infringing. It never has been, and it is not now. The timing of this lawsuit was somewhat surprising. When this lawsuit landed, Suno was, in fact, having productive discussions with a number of the RIAA's major record label members to find ways of expanding the pie for music together. We did so not because we had to, but because we believe that the music industry could help us lead this expansion of opportunity for everyone, rather than resisting it. Whether this lawsuit is the result of over-eager lawyers throwing their weight around, or a conscious strategy to gain leverage in our commercial discussions, we believe that this lawsuit is an unnecessary impediment to a larger and more valuable future for music. This is particularly the case because Suno is a new kind of musical instrument, one that enables a new kind of creative process for everyone and opens new business opportunities for the industry. Suno is designed for original music, and we prize originality, both in how we build our product and in how people use it. People who use Suno are using the product to create their own, original music. They are not trying to recreate an existing song that can be heard somewhere else on the internet for free. But, even if they were trying to copy existing music, we have myriad controls in place to encourage originality and prevent duplicative use cases. We do so more aggressively than any other company in the industry, including other startups. Some of our originality-guarding features include checking for and preventing copyrighted content in audio uploads, and disallowing artist-based descriptions in requests to generate music. Why do we work to encourage originality? We do this because it makes for a more fun and engaging experience to create entirely original compositions on Suno. We do it because we think it makes Suno incredibly valuable to be a place where new musical talent can shine. AI allows anyone to realize the songs in their head, regardless of the money, equipment, or connections that they have. The future is an explosion of new artists that are creating music in new ways, building fan bases, finding new reasons to smile, and getting famous. We hope that the major record labels realize that we can build a stronger foundation for the music industry of tomorrow, together. With or without them, we will continue pursuing our mission on behalf of the many millions of music fans already creating with Suno, and all those who will in the coming months. We are excited and humbled to support this next generation of musicians and the music they create. --- 🎥: shing86 jams with Suno

Suno

46,955 次观看 • 2 年前

🏆 #FELIX ReawakeR achievements ✰ SPOTIFY : ➺ First Stray Kids member song to reach 100M streams ➺ Most streamed Anime OST by a K-pop idol in Spotify history ➺ Most streamed Anime OST released in 2025 ➺ Most streamed Song by 4th gen male solo artist released in 2025 ➺ Most streamed OST by 4th gen solo artist ➺ 3rd most played Japanese song overseas for the first half of 2025 ➺ 5th most played Japanese song overseas in 2025 ➺ Most streamed Solo Leveling track ➺ Most streamed SKZ solo collab ➺ #4 on Spotify's " Best of Anime now 2025 " ✰ iTunes : ➺ Longest charting Stray Kids song on Worldwide iTunes Song Chart ( 91 days) ➺ Longest charting 2025 male K-pop artist song on the chart ➺ #1 on iTunes Song Charts in 9 countries/regions ✰ Recochoku : ➺ #1 Daily Singles Ranking (2nd skz song to do so) ➺ Highest Stray Kids peak on Recochoku Monthly Singles Ranking (#11) ✰ Billboard : ➺ Longest Charting 2025 song by kpop male act on billboard world digital song sales ( 15 weeks ) ➺ Longest Charting song by 4th gen male kpop act on billboard world digital song sales ( 15 weeks ) ➺ Felix becomes the first K-pop male artist this year to enter Billboard Dance Digital Song Sales ( 11th K-pop male artist to enter the chart ) ➺ FELIX is the first Korean Solo Artist in History to reach #1 on Billboard LyricFind U.S Chart (and joins BTS and Fifty Fifty as the only Korean acts in history to ever top Billboard LyricFind US chart ) ➺ Felix becomes the first male K-pop artist in 2025 to enter the Billboard LyricFind Global chart ✰ Billboard Japan : ➺ Felix becomes the first K-pop artist to reach #1 on various Billboard Japan Songs chart (8 counties) ➺ Felix becomes the first K-pop artist to top Billboard Japan Global Excl. ( 8th song to ever top the chart ) (charted for 8 consecutive weeks at #1 ) ➺ Longest charting song by 4th generation K-pop male artist on Billboard Japan Download Songs (16 weeks) ➺ Longest charting 2025 song by K-pop male artist on Billboard Japan Download Songs (16 weeks) ➺ Ranked #5 on Billboard japan Global Japan Songs excl. Japan ➺ Charted on multiple Billboard japan 2025 mid-year country charts - Japan Songs ( #2 Malaysia, Germany, #3 France, #4 UK, #5 US, South Africa, Brazil, #7 Singapore, #8 Taiwan, #9 India ) ➺ Charted on multiple Billboard japan 2025 year-end charts - Japan Download Songs #64 - Global Excl. Japan #11 - Japan Songs ( #3 France , Germany , #6 South africa < #7 U.S, Brazil, UK, #11 Malaysia, #14 Singapore, India , #15 Taiwan ) ➺ ranks #10 in Billboard Japan 2026 Mid-Year Japan songs Germany chart ✰ YouTube : ➺ Most streamed Solo Leveling Opening MV ➺ Most streamed Stray Kids Japanese MV released in 2025 ➺ Most liked 2025 music videos by 4th gen male soloist ➺ #5 most liked 2025 music videos by K-pop male soloist ( 826K likes ) ✰ YouTube Music : ➺ 100M+ Plays ➺ Most streamed OST by 4th gen male solo artist ➺ Most streamed Solo Leveling Opening ✰ Music Awards Japan : ➺ Nominated for "Best Japanese Song" and "Best Anime Song" at Music Awards Japan 2025 ➺ FELIX becomes the only K-Pop artist to be nominated in "Best Anime Song" at Music Awards Japan ➺ Nominated for "Best Anime Song" at Music Awards Japan 2026 ➺ Felix is the ONLY K-Pop solo artist nominated in this category ➺ Nominated for "Best Global Hit In Japan" and "Best Cross-border Collaboration Song" preliminary nominations at Music Awards Japan 2026 ➺ Nominated for "Best Global Hit In Japan" and "Best Cross-border Collaboration Song" and "Best Japanese Song in Europe " and "Best of Listener’s Choice: Japanese Songs " final nominations at Music Awards Japan 2026 ➺ The only non-virtual K-pop act nominated in a major category "Best Global Hit In Japan" at MUSIC AWARDS JAPAN 2026 ➺ Received the most votes in the first round of voting for “Best Global Hit from Japan,” which was exclusively open to Spotify users outside Japan. ➺ Felix becomes the first 4th-generation solo idol to receive a finalist nomination in a Major Category / Grand prize ✰ QQ Music : ➺ Ranked #1 on QQ Music Peak Chart (Q1 2025 - Anime Category) ✰ Oricon : ➺ The ONLY charting male kpop track in Oricon Top 30 Half-Year Chart 2025 — Digital Singles Track ➺ Peaked at #4 on Oricon Daily Singles Chart ✰ APMA : ➺ Nominated for "Best collaboration" at APMA AWARDS 2025 ✰ Stationhead : ➺#6 most streamed song on stationhead in 2025 ✰ KKBOX 2025 Chart : ➺#1 Japanese Singles for Film & Television ➺#1 Taiwan Most Streamed Japanese Singles ➺#1 HongKong Most Streamed Japanese Singles ➺#2 Singapore Most Streamed Japanese Singles ➺#42 Japan Most Streamed Japanese Singles ✰ Crunchyroll Anime Awards : ➺ Nominated for "Best Opening Sequence" and "Best Anime Song" at Crunchyroll Anime Awards 2026 FELIX REAWAKER 100M CLUB #ReawakeR_100MOnSpotify
1:01

🏆 #FELIX ReawakeR achievements ✰ SPOTIFY : ➺ First Stray Kids member song to reach 100M streams ➺ Most streamed Anime OST by a K-pop idol in Spotify history ➺ Most streamed Anime OST released in 2025 ➺ Most streamed Song by 4th gen male solo artist released in 2025 ➺ Most streamed OST by 4th gen solo artist ➺ 3rd most played Japanese song overseas for the first half of 2025 ➺ 5th most played Japanese song overseas in 2025 ➺ Most streamed Solo Leveling track ➺ Most streamed SKZ solo collab ➺ #4 on Spotify's " Best of Anime now 2025 " ✰ iTunes : ➺ Longest charting Stray Kids song on Worldwide iTunes Song Chart ( 91 days) ➺ Longest charting 2025 male K-pop artist song on the chart ➺ #1 on iTunes Song Charts in 9 countries/regions ✰ Recochoku : ➺ #1 Daily Singles Ranking (2nd skz song to do so) ➺ Highest Stray Kids peak on Recochoku Monthly Singles Ranking (#11) ✰ Billboard : ➺ Longest Charting 2025 song by kpop male act on billboard world digital song sales ( 15 weeks ) ➺ Longest Charting song by 4th gen male kpop act on billboard world digital song sales ( 15 weeks ) ➺ Felix becomes the first K-pop male artist this year to enter Billboard Dance Digital Song Sales ( 11th K-pop male artist to enter the chart ) ➺ FELIX is the first Korean Solo Artist in History to reach #1 on Billboard LyricFind U.S Chart (and joins BTS and Fifty Fifty as the only Korean acts in history to ever top Billboard LyricFind US chart ) ➺ Felix becomes the first male K-pop artist in 2025 to enter the Billboard LyricFind Global chart ✰ Billboard Japan : ➺ Felix becomes the first K-pop artist to reach #1 on various Billboard Japan Songs chart (8 counties) ➺ Felix becomes the first K-pop artist to top Billboard Japan Global Excl. ( 8th song to ever top the chart ) (charted for 8 consecutive weeks at #1 ) ➺ Longest charting song by 4th generation K-pop male artist on Billboard Japan Download Songs (16 weeks) ➺ Longest charting 2025 song by K-pop male artist on Billboard Japan Download Songs (16 weeks) ➺ Ranked #5 on Billboard japan Global Japan Songs excl. Japan ➺ Charted on multiple Billboard japan 2025 mid-year country charts - Japan Songs ( #2 Malaysia, Germany, #3 France, #4 UK, #5 US, South Africa, Brazil, #7 Singapore, #8 Taiwan, #9 India ) ➺ Charted on multiple Billboard japan 2025 year-end charts - Japan Download Songs #64 - Global Excl. Japan #11 - Japan Songs ( #3 France , Germany , #6 South africa < #7 U.S, Brazil, UK, #11 Malaysia, #14 Singapore, India , #15 Taiwan ) ➺ ranks #10 in Billboard Japan 2026 Mid-Year Japan songs Germany chart ✰ YouTube : ➺ Most streamed Solo Leveling Opening MV ➺ Most streamed Stray Kids Japanese MV released in 2025 ➺ Most liked 2025 music videos by 4th gen male soloist ➺ #5 most liked 2025 music videos by K-pop male soloist ( 826K likes ) ✰ YouTube Music : ➺ 100M+ Plays ➺ Most streamed OST by 4th gen male solo artist ➺ Most streamed Solo Leveling Opening ✰ Music Awards Japan : ➺ Nominated for "Best Japanese Song" and "Best Anime Song" at Music Awards Japan 2025 ➺ FELIX becomes the only K-Pop artist to be nominated in "Best Anime Song" at Music Awards Japan ➺ Nominated for "Best Anime Song" at Music Awards Japan 2026 ➺ Felix is the ONLY K-Pop solo artist nominated in this category ➺ Nominated for "Best Global Hit In Japan" and "Best Cross-border Collaboration Song" preliminary nominations at Music Awards Japan 2026 ➺ Nominated for "Best Global Hit In Japan" and "Best Cross-border Collaboration Song" and "Best Japanese Song in Europe " and "Best of Listener’s Choice: Japanese Songs " final nominations at Music Awards Japan 2026 ➺ The only non-virtual K-pop act nominated in a major category "Best Global Hit In Japan" at MUSIC AWARDS JAPAN 2026 ➺ Received the most votes in the first round of voting for “Best Global Hit from Japan,” which was exclusively open to Spotify users outside Japan. ➺ Felix becomes the first 4th-generation solo idol to receive a finalist nomination in a Major Category / Grand prize ✰ QQ Music : ➺ Ranked #1 on QQ Music Peak Chart (Q1 2025 - Anime Category) ✰ Oricon : ➺ The ONLY charting male kpop track in Oricon Top 30 Half-Year Chart 2025 — Digital Singles Track ➺ Peaked at #4 on Oricon Daily Singles Chart ✰ APMA : ➺ Nominated for "Best collaboration" at APMA AWARDS 2025 ✰ Stationhead : ➺#6 most streamed song on stationhead in 2025 ✰ KKBOX 2025 Chart : ➺#1 Japanese Singles for Film & Television ➺#1 Taiwan Most Streamed Japanese Singles ➺#1 HongKong Most Streamed Japanese Singles ➺#2 Singapore Most Streamed Japanese Singles ➺#42 Japan Most Streamed Japanese Singles ✰ Crunchyroll Anime Awards : ➺ Nominated for "Best Opening Sequence" and "Best Anime Song" at Crunchyroll Anime Awards 2026 FELIX REAWAKER 100M CLUB #ReawakeR_100MOnSpotify

Felix 필릭스 Central

20,466 次观看 • 3 个月前

Beyoncé’s magnum opus, COWBOY CARTER turns 1 today. Upon release, Cowboy Carter had a significant impact on music, fashion, business and culture. One of the most impactful albums of all time. •The album drove over 36 million people to stream country music for the first time on Spotify •Credited for making country music become mainstream in the UK, with one survey finding that 60% of British respondents started listening to country music following the release of Cowboy Carter. •In Sweden, the number of people listening to country music increased by 60% following the release of the album, which is the largest increase for any genre in Swedish history. •A worldwide study found that over one-third of Gen Z respondents began listening to country music after Beyoncé entered the genre. •There was a 38% increase in views of country music videos globally on Vevo following the album's release, as well as a 40% increase in Black 18–34-year-olds listening to country radio • Cowboy Carter sparked discourse on the boundaries of the country music genre and its roots within Black music, and drove cultural conversations on the inclusion of Black artists within the genre. •Led to a strong demand for country music made by Black artists and a growing community of Black country fans. •After featuring on the album, Shaboozey advanced the release of his single "A Bar Song (Tipsy)" to take advantage of his increased visibility. The song would peak at number 1 on the Billboard Hot 100 and Billboard Hot Country Songs, replacing Beyoncé's own "Texas Hold 'Em", becoming the first time in history that two Black artists led the latter chart back to back • Other Black female country musicians also saw a significant increase in streams due to the album, • Beyoncé's embrace of country music and culture ignited fashion trends and boosted sales of Western wear. • Cowboy Carter led to a surge in interest in Western clothing, including an increase in searches for Western-style jeans (610%), bolo ties (566%), flared denim (372%), cowboy boots (224%) and cowboy hats (213%) • Cowboy Carter led to a 326 per cent surge in sales of cowboy hats, while units sold of boots and fringed suede jackets both jumped by 45 percent.[ • Inspired by the album, the prominence of Western and country styling within the fashion landscape increased by 45 percent. • In the UK, a national survey found that 25% of respondents took up line dancing and 40% started wearing Western clothing following the release of Cowboy Carter • The album had an impact on rodeos in Canada such as the Calgary Stampede, broadening its audience • After Beyoncé referenced the American clothing company Levi Strauss & Co. on the Cowboy Carter track "Levii's Jeans", the company reported a 20% boost on their stock price. The album singlehandedly generated an additional $1.2 million for the brand, from an increase of 1.5 billion impressions online • Levi's also noted a 20% rise in footfall at US stores after the release of the album, while British retailer John Lewis & Partners reported that searches for "women's Levi's jeans" were up 263% since the record was announced. • CNN released a documentary on Max titled Call Me Country: Beyoncé & Nashville's Renaissance, which explores the album's impact on the country music landscape and the inclusion of Black artists within the genre. • An episode of Nightlinefocused on the album and its impact on the country music space. • Cowboy Carter appeared on several publications' rankings of the best albums of 2024. •It is the third-most nominated album in Grammy history and won Best Country Album and Album of the Year • Cowboy Carter landed Beyoncé her biggest streaming week ever and broke streaming records on several platforms. • The album debuted at #1 in over 20 countries.
0:32

Beyoncé’s magnum opus, COWBOY CARTER turns 1 today. Upon release, Cowboy Carter had a significant impact on music, fashion, business and culture. One of the most impactful albums of all time. •The album drove over 36 million people to stream country music for the first time on Spotify •Credited for making country music become mainstream in the UK, with one survey finding that 60% of British respondents started listening to country music following the release of Cowboy Carter. •In Sweden, the number of people listening to country music increased by 60% following the release of the album, which is the largest increase for any genre in Swedish history. •A worldwide study found that over one-third of Gen Z respondents began listening to country music after Beyoncé entered the genre. •There was a 38% increase in views of country music videos globally on Vevo following the album's release, as well as a 40% increase in Black 18–34-year-olds listening to country radio • Cowboy Carter sparked discourse on the boundaries of the country music genre and its roots within Black music, and drove cultural conversations on the inclusion of Black artists within the genre. •Led to a strong demand for country music made by Black artists and a growing community of Black country fans. •After featuring on the album, Shaboozey advanced the release of his single "A Bar Song (Tipsy)" to take advantage of his increased visibility. The song would peak at number 1 on the Billboard Hot 100 and Billboard Hot Country Songs, replacing Beyoncé's own "Texas Hold 'Em", becoming the first time in history that two Black artists led the latter chart back to back • Other Black female country musicians also saw a significant increase in streams due to the album, • Beyoncé's embrace of country music and culture ignited fashion trends and boosted sales of Western wear. • Cowboy Carter led to a surge in interest in Western clothing, including an increase in searches for Western-style jeans (610%), bolo ties (566%), flared denim (372%), cowboy boots (224%) and cowboy hats (213%) • Cowboy Carter led to a 326 per cent surge in sales of cowboy hats, while units sold of boots and fringed suede jackets both jumped by 45 percent.[ • Inspired by the album, the prominence of Western and country styling within the fashion landscape increased by 45 percent. • In the UK, a national survey found that 25% of respondents took up line dancing and 40% started wearing Western clothing following the release of Cowboy Carter • The album had an impact on rodeos in Canada such as the Calgary Stampede, broadening its audience • After Beyoncé referenced the American clothing company Levi Strauss & Co. on the Cowboy Carter track "Levii's Jeans", the company reported a 20% boost on their stock price. The album singlehandedly generated an additional $1.2 million for the brand, from an increase of 1.5 billion impressions online • Levi's also noted a 20% rise in footfall at US stores after the release of the album, while British retailer John Lewis & Partners reported that searches for "women's Levi's jeans" were up 263% since the record was announced. • CNN released a documentary on Max titled Call Me Country: Beyoncé & Nashville's Renaissance, which explores the album's impact on the country music landscape and the inclusion of Black artists within the genre. • An episode of Nightlinefocused on the album and its impact on the country music space. • Cowboy Carter appeared on several publications' rankings of the best albums of 2024. •It is the third-most nominated album in Grammy history and won Best Country Album and Album of the Year • Cowboy Carter landed Beyoncé her biggest streaming week ever and broke streaming records on several platforms. • The album debuted at #1 in over 20 countries.

IChooseViolence

15,682 次观看 • 1 年前

“LEMONADE” by aespa continues its global dominance across all of the world’s Top 10 biggest music markets: 1. 🇺🇸 United States (#1 music market) Billboard 200 — #9 Billboard Global 200 — #20 (10 weeks) Billboard Bubbling Under Hot 100 — #7 Billboard Hot Dance/Pop Songs — #11 Billboard World Albums Chart — #1 Billboard Top Album Sales — #2 Billboard Dance Digital Song Sales Chart — #2 U.S. Apple Music Albums Chart — #38 U.S. iTunes Albums Chart — Top 5 U.S. iTunes Top Songs Chart — #21 Youtube Music United States Top 100 — 1,279,496 (#62) 2. 🇯🇵 Japan (#2 music market) Billboard Japan Hot 100 — #4 (12 weeks charting) Billboard Japan Download Albums Chart Billboard Japan Hot Albums — #4 Billboard Japan Streaming Songs Chart Billboard Japan Download Songs Chart Billboard Japan Top Albums Sales Billboard Japan Hot Shot Songs Chart Apple Music Japan Songs Chart — #33 iTunes Japan Albums Chart — #1 iTunes Japan Top Songs Chart — #20 Japan Combined Singles (Oricon) — #41 3. 🇬🇧 United Kingdom (#3 music market) UK Official Singles Chart — #95 UK Official Video Streaming Chart — #88 UK Official Singles Sales Chart — #15 UK Official Singles Downloads Chart — #13 UK Official Independent Singles Chart — #37 UK Official Independent Singles Breakers Chart — #3 UK Apple Music Albums Chart — #25 UK iTunes Albums Chart — #10 UK iTunes Top Songs Chart — #63 Youtube Music United Kingdom Top 100 — 223,854 streams (#55) 4. 🇩🇪 Germany (#4 music market) Offizielle Deutsche Charts Top 100 (Albums) — #27 German Pop Albums (Offizielle Top 100) — #9 Apple Music Germany Top Albums Chart — Top 10 iTunes Germany Albums Chart — #30 5. 🇨🇳 China (#5 music market) Tencent QQ Music — Highest-grossing K-pop album of 2026 Tencent QQ Music — 3rd highest-grossing album overall in 2026 China Apple Music Albums Chart — #2 China Apple Music Songs Chart — #2 6. 🇫🇷 France (#6 music market) SNEP Albums Chart top 100 Longest charting 4th generation girl group album in 2026 Earned the highest debut by any 4th generation girl group on the SNEP Top Albums Chart in 2026. (#13) 13 consecutive weeks on France Albums Chart Top 100 (Still Charting) Apple Music France Top Albums Chart — Top 25 iTunes France Albums Chart — #5 iTunes France Top Songs Chart — #42 7. 🇰🇷 South Korea (#7 music market) South Korean Albums Chart (Circle Chart) — #1 Fastest 4th gen girl group song to reach 20,000 likes on MelOn in 2026 Biggest first day streams by a female act on MelOn in 2026 with 213,598 streams Highest MelOn 24Hits debut among 4th generation girl groups in 2026 Most liked 4th generation girl group song on MelOn during its first hour of release in 2026 Reached Top 5 on all major Korean real-time charts Reached Top 5 on all major Korean daily charts Spotify Korea peak — 114,505 streams YouTube Music South Korea Top Artists Chart (#1 for 7 weeks*) Biggest first full month debut by any K-pop artist on the YouTube Music South Korea Top Songs Chart in 2026 with 20.108 million streams. 8. 🇨🇦 Canada (#8 music market) Canada Spotify Weekly Top Albums — #173 iTunes Canada Albums Chart — #6 iTunes Canada Top Songs Chart — #46 Apple Music Canada Top Albums Chart — #27 Youtube Music Canada Top 100 — 231,608 streams (#27) 9. 🇧🇷 Brazil (#9 music market) Brazil Spotify Weekly Top Albums — #151 Apple Music Brazil Top Albums Chart — #3 Apple Music Brazil Songs Chart — Top 10 iTunes Brazil Albums Chart — #1 iTunes Brazil Top Songs Chart — #4 10. 🇦🇺 Australia (#10 music market) ARIA Albums Chart — #24 Earned the first and only girl group entry on the ARIA Albums Chart in 2026 Apple Music Australia Top Albums Chart — Top 10 iTunes Australia Albums Chart — #5 iTunes Australia Top Songs Chart — #37
0:28

“LEMONADE” by aespa continues its global dominance across all of the world’s Top 10 biggest music markets: 1. 🇺🇸 United States (#1 music market) Billboard 200 — #9 Billboard Global 200 — #20 (10 weeks) Billboard Bubbling Under Hot 100 — #7 Billboard Hot Dance/Pop Songs — #11 Billboard World Albums Chart — #1 Billboard Top Album Sales — #2 Billboard Dance Digital Song Sales Chart — #2 U.S. Apple Music Albums Chart — #38 U.S. iTunes Albums Chart — Top 5 U.S. iTunes Top Songs Chart — #21 Youtube Music United States Top 100 — 1,279,496 (#62) 2. 🇯🇵 Japan (#2 music market) Billboard Japan Hot 100 — #4 (12 weeks charting) Billboard Japan Download Albums Chart Billboard Japan Hot Albums — #4 Billboard Japan Streaming Songs Chart Billboard Japan Download Songs Chart Billboard Japan Top Albums Sales Billboard Japan Hot Shot Songs Chart Apple Music Japan Songs Chart — #33 iTunes Japan Albums Chart — #1 iTunes Japan Top Songs Chart — #20 Japan Combined Singles (Oricon) — #41 3. 🇬🇧 United Kingdom (#3 music market) UK Official Singles Chart — #95 UK Official Video Streaming Chart — #88 UK Official Singles Sales Chart — #15 UK Official Singles Downloads Chart — #13 UK Official Independent Singles Chart — #37 UK Official Independent Singles Breakers Chart — #3 UK Apple Music Albums Chart — #25 UK iTunes Albums Chart — #10 UK iTunes Top Songs Chart — #63 Youtube Music United Kingdom Top 100 — 223,854 streams (#55) 4. 🇩🇪 Germany (#4 music market) Offizielle Deutsche Charts Top 100 (Albums) — #27 German Pop Albums (Offizielle Top 100) — #9 Apple Music Germany Top Albums Chart — Top 10 iTunes Germany Albums Chart — #30 5. 🇨🇳 China (#5 music market) Tencent QQ Music — Highest-grossing K-pop album of 2026 Tencent QQ Music — 3rd highest-grossing album overall in 2026 China Apple Music Albums Chart — #2 China Apple Music Songs Chart — #2 6. 🇫🇷 France (#6 music market) SNEP Albums Chart top 100 Longest charting 4th generation girl group album in 2026 Earned the highest debut by any 4th generation girl group on the SNEP Top Albums Chart in 2026. (#13) 13 consecutive weeks on France Albums Chart Top 100 (Still Charting) Apple Music France Top Albums Chart — Top 25 iTunes France Albums Chart — #5 iTunes France Top Songs Chart — #42 7. 🇰🇷 South Korea (#7 music market) South Korean Albums Chart (Circle Chart) — #1 Fastest 4th gen girl group song to reach 20,000 likes on MelOn in 2026 Biggest first day streams by a female act on MelOn in 2026 with 213,598 streams Highest MelOn 24Hits debut among 4th generation girl groups in 2026 Most liked 4th generation girl group song on MelOn during its first hour of release in 2026 Reached Top 5 on all major Korean real-time charts Reached Top 5 on all major Korean daily charts Spotify Korea peak — 114,505 streams YouTube Music South Korea Top Artists Chart (#1 for 7 weeks*) Biggest first full month debut by any K-pop artist on the YouTube Music South Korea Top Songs Chart in 2026 with 20.108 million streams. 8. 🇨🇦 Canada (#8 music market) Canada Spotify Weekly Top Albums — #173 iTunes Canada Albums Chart — #6 iTunes Canada Top Songs Chart — #46 Apple Music Canada Top Albums Chart — #27 Youtube Music Canada Top 100 — 231,608 streams (#27) 9. 🇧🇷 Brazil (#9 music market) Brazil Spotify Weekly Top Albums — #151 Apple Music Brazil Top Albums Chart — #3 Apple Music Brazil Songs Chart — Top 10 iTunes Brazil Albums Chart — #1 iTunes Brazil Top Songs Chart — #4 10. 🇦🇺 Australia (#10 music market) ARIA Albums Chart — #24 Earned the first and only girl group entry on the ARIA Albums Chart in 2026 Apple Music Australia Top Albums Chart — Top 10 iTunes Australia Albums Chart — #5 iTunes Australia Top Songs Chart — #37

aespa charts

10,755 次观看 • 4 天前

I feel like Kpop fans who aren't fans of Taemin or SHINee have no idea what he has achieved since leaving SM and say the most negative things about his career. Taemin Ephemeral Gaze world tour is the 9th most attended tour from a Kpop solo artist. His Japan Veil tour was successful too and was the 20th most attended tour from a Kpop solo artist. I think even though towards the end of his contract with BPM it wasn't admirable ( nothing he did it's all the company's fault),however, Taemin still kept his teams morale up and paid their salaries. He performed on Kelly Clarkson Show, Jennifer Hudson Show, and was the first male Kpop soloist to perform at Coachella, and was the first Kpop soloist to have an exhibit at the Grammy Museum and it was later extended due to his popularity. Taemin's Permission was #5 on Billboard's World Digital Sales Song Chart and Long Way Home his other single entered US Top 40 radio I think the music Taemin has put out has been good and there is nothing wrong with him exploring new sounds and artistic expression. He is a 12 year solo artist and 18 year member of SHINee he doesn't have to keep doing the same thing. People forget that Taemin is the one that chose MOVE and Guilty, in fact Taemin fought for MOVE to be the title track, they forget that he has had great input on the direction of his music and performance, he has written his own music, and choreographed for himself and also for SHINee. A lot of y'all are fans of the company and not the artist, If you can't accept that Taemin is exploring his musicality then leave, he doesn't have to keep releasing the same music. I feel like a lot of you guys connect good music to the label and can't process an artist standing on their own. There isn't really any good music coming out of SM anymore, so I don't know what y'all even going on about. Taemin released 6 new songs at Coachella and they were all good and Deja Vu and Bones is some of his best songs.
0:49

I feel like Kpop fans who aren't fans of Taemin or SHINee have no idea what he has achieved since leaving SM and say the most negative things about his career. Taemin Ephemeral Gaze world tour is the 9th most attended tour from a Kpop solo artist. His Japan Veil tour was successful too and was the 20th most attended tour from a Kpop solo artist. I think even though towards the end of his contract with BPM it wasn't admirable ( nothing he did it's all the company's fault),however, Taemin still kept his teams morale up and paid their salaries. He performed on Kelly Clarkson Show, Jennifer Hudson Show, and was the first male Kpop soloist to perform at Coachella, and was the first Kpop soloist to have an exhibit at the Grammy Museum and it was later extended due to his popularity. Taemin's Permission was #5 on Billboard's World Digital Sales Song Chart and Long Way Home his other single entered US Top 40 radio I think the music Taemin has put out has been good and there is nothing wrong with him exploring new sounds and artistic expression. He is a 12 year solo artist and 18 year member of SHINee he doesn't have to keep doing the same thing. People forget that Taemin is the one that chose MOVE and Guilty, in fact Taemin fought for MOVE to be the title track, they forget that he has had great input on the direction of his music and performance, he has written his own music, and choreographed for himself and also for SHINee. A lot of y'all are fans of the company and not the artist, If you can't accept that Taemin is exploring his musicality then leave, he doesn't have to keep releasing the same music. I feel like a lot of you guys connect good music to the label and can't process an artist standing on their own. There isn't really any good music coming out of SM anymore, so I don't know what y'all even going on about. Taemin released 6 new songs at Coachella and they were all good and Deja Vu and Bones is some of his best songs.

Toya

20,319 次观看 • 2 个月前

My Story 🎥 I was once a pop star in South Africa. But when I chose my independence, the industry closed its doors. My new music was pushed into the shadows. My songs, my videos, the work I gave my life to… silenced, unseen, unheard by the millions of fans that were eager to follow the journey. For 13 years, I have carried that silence. My move to the UK wasn’t simply a choice. It was a search for something bigger , the growth I deserved and survival. A search for a place where my voice could live again. A place where my music could breathe. Here in England, I’ve been fortunate to find people who believe in the power of what I do. I’ve been part of meaningful campaigns and built a new community around my art across Europe. But the truth is, the story is still unfinished. Because for me, music was never just a career. Many people make music for fun. I make music for my life. Music was the only thing that consoled me after I lost my mum. Music changed my life. Music is my liberation. And yet many of my supporters across Africa were left in the dark. I have no choice but to face things head on and this is where the story continues. As I prepare to release my album on May 20, fully independent. I haven’t been able to secure major support for the release. The offers I’ve received would take away my ownership. And that is something I cannot give up. So instead, I’m coming back to the people. To my community. As I begin the next chapter: #Afrorave2 #Artist #industry
2:59

My Story 🎥 I was once a pop star in South Africa. But when I chose my independence, the industry closed its doors. My new music was pushed into the shadows. My songs, my videos, the work I gave my life to… silenced, unseen, unheard by the millions of fans that were eager to follow the journey. For 13 years, I have carried that silence. My move to the UK wasn’t simply a choice. It was a search for something bigger , the growth I deserved and survival. A search for a place where my voice could live again. A place where my music could breathe. Here in England, I’ve been fortunate to find people who believe in the power of what I do. I’ve been part of meaningful campaigns and built a new community around my art across Europe. But the truth is, the story is still unfinished. Because for me, music was never just a career. Many people make music for fun. I make music for my life. Music was the only thing that consoled me after I lost my mum. Music changed my life. Music is my liberation. And yet many of my supporters across Africa were left in the dark. I have no choice but to face things head on and this is where the story continues. As I prepare to release my album on May 20, fully independent. I haven’t been able to secure major support for the release. The offers I’ve received would take away my ownership. And that is something I cannot give up. So instead, I’m coming back to the people. To my community. As I begin the next chapter: #Afrorave2 #Artist #industry

AFRO-RAVE ☥

47,893 次观看 • 6 个月前

🇯🇵 [Seoul Economic Daily] 260618 "Jin Even Shook Up Japan's Music Market" Why BTS Jin's Solo Power Is So Remarkable 👩‍🏫BTS Jin has been making a remarkable impact in the Japanese music market as a solo artist, continuing an unparalleled run of success since completing his military service. At Japan's biggest music awards ceremony, Music Awards Japan, the title track Don't Say You Love Me from his solo mini album won the Best of Listeners' Choice International Song award. The achievement is especially meaningful because the result was heavily influenced by fan voting. Users of Spotify, the world's largest music streaming platform, directly participated in the selection process. Upon its release, the song reached No. 1 on Spotify's Global Chart, becoming the first achievement of its kind by an Asian artist. Jin is also setting new longevity records for a K-pop solo artist on Japanese charts, demonstrating his immense popularity across the country. His success continued on the year-end charts as well. On Billboard Japan's year-end rankings, he was the only K-pop solo artist to appear near the top of the Hot 100 singles chart, while also securing a strong position on the Artist 100 chart. On the Oricon charts, he achieved a dominant No. 1 ranking among K-pop solo artists, further solidifying his top-tier status in Japan. Making a powerful return after military service, Jin continues to maintain his position at the highest level both as a solo artist and as a member of BTS. With every release, he continues to make history on global charts. Through his acceptance speech, he expressed heartfelt gratitude to fans around the world and shared his determination to showcase his own unique musical identity through future solo projects. Global fans are continuing to praise Jin as they look forward to the new messages and bold artistic journey he will bring to the worldwide music scene. #JIN #방탄소년단진 MUSIC AWARDS JAPAN公式 방탄소년단
1:49

🇯🇵 [Seoul Economic Daily] 260618 "Jin Even Shook Up Japan's Music Market" Why BTS Jin's Solo Power Is So Remarkable 👩‍🏫BTS Jin has been making a remarkable impact in the Japanese music market as a solo artist, continuing an unparalleled run of success since completing his military service. At Japan's biggest music awards ceremony, Music Awards Japan, the title track Don't Say You Love Me from his solo mini album won the Best of Listeners' Choice International Song award. The achievement is especially meaningful because the result was heavily influenced by fan voting. Users of Spotify, the world's largest music streaming platform, directly participated in the selection process. Upon its release, the song reached No. 1 on Spotify's Global Chart, becoming the first achievement of its kind by an Asian artist. Jin is also setting new longevity records for a K-pop solo artist on Japanese charts, demonstrating his immense popularity across the country. His success continued on the year-end charts as well. On Billboard Japan's year-end rankings, he was the only K-pop solo artist to appear near the top of the Hot 100 singles chart, while also securing a strong position on the Artist 100 chart. On the Oricon charts, he achieved a dominant No. 1 ranking among K-pop solo artists, further solidifying his top-tier status in Japan. Making a powerful return after military service, Jin continues to maintain his position at the highest level both as a solo artist and as a member of BTS. With every release, he continues to make history on global charts. Through his acceptance speech, he expressed heartfelt gratitude to fans around the world and shared his determination to showcase his own unique musical identity through future solo projects. Global fans are continuing to praise Jin as they look forward to the new messages and bold artistic journey he will bring to the worldwide music scene. #JIN #방탄소년단진 MUSIC AWARDS JAPAN公式 방탄소년단

star_jin

20,890 次观看 • 2 个月前

I find it fascinating how Opulous is using AI to quietly reshape how music is created, marketed, and monetized. It’s not just one tool , it’s an ecosystem where each layer compounds the next. Take Wippit AI, for example. Instead of artists guessing what to post or how to grow, Wippit analyzes past content, audience behavior, and engagement patterns to guide smarter promotion decisions. That adaptability is a huge shift from static marketing tools that don’t learn or evolve. Then there’s Opulous music-first DeFi layer. By connecting on-chain infrastructure to real-world streaming data, Opulous enables transparent royalty tracking and automated payouts. This bridge between static music rights and live performance data is what makes the model sustainable, not speculative. On the creator side, MFTs (Music Fungible Tokens) unlock a new financing model entirely. Artists can raise capital without labels or debt, while fans gain exposure to real revenue streams. It’s a system designed around alignment , creators grow, supporters earn, and the platform scales organically. What really stands out is how AI, DeFi, and music IP converge into a single workflow: • AI helps artists grow • DeFi helps artists fund • Blockchain ensures trust and transparency Each component alone is powerful. Together, they’re disruptive. Of course, building systems like this isn’t trivial. It requires deep understanding of music rights, data pipelines, AI modeling, and financial infrastructure. That’s why Opulous isn’t moving fast for hype , it’s moving deliberately for longevity. And the real-world impact is already visible. Artists gain control. Fans gain access. Royalties become programmable, not opaque. Whether you’re an artist looking for independence, a fan seeking real utility, or someone exploring how AI can power real-world assets, Opulous offers a blueprint that goes beyond theory. This is what happens when technology is built for creators, not platforms. And we’re still early. $OPUL #opulous
0:41

I find it fascinating how Opulous is using AI to quietly reshape how music is created, marketed, and monetized. It’s not just one tool , it’s an ecosystem where each layer compounds the next. Take Wippit AI, for example. Instead of artists guessing what to post or how to grow, Wippit analyzes past content, audience behavior, and engagement patterns to guide smarter promotion decisions. That adaptability is a huge shift from static marketing tools that don’t learn or evolve. Then there’s Opulous music-first DeFi layer. By connecting on-chain infrastructure to real-world streaming data, Opulous enables transparent royalty tracking and automated payouts. This bridge between static music rights and live performance data is what makes the model sustainable, not speculative. On the creator side, MFTs (Music Fungible Tokens) unlock a new financing model entirely. Artists can raise capital without labels or debt, while fans gain exposure to real revenue streams. It’s a system designed around alignment , creators grow, supporters earn, and the platform scales organically. What really stands out is how AI, DeFi, and music IP converge into a single workflow: • AI helps artists grow • DeFi helps artists fund • Blockchain ensures trust and transparency Each component alone is powerful. Together, they’re disruptive. Of course, building systems like this isn’t trivial. It requires deep understanding of music rights, data pipelines, AI modeling, and financial infrastructure. That’s why Opulous isn’t moving fast for hype , it’s moving deliberately for longevity. And the real-world impact is already visible. Artists gain control. Fans gain access. Royalties become programmable, not opaque. Whether you’re an artist looking for independence, a fan seeking real utility, or someone exploring how AI can power real-world assets, Opulous offers a blueprint that goes beyond theory. This is what happens when technology is built for creators, not platforms. And we’re still early. $OPUL #opulous

Deejah_abk

14,275 次观看 • 7 个月前

🤔📱 The Irony Of Jay-Z’s 30-Year “Reasonable Doubt” Celebration Being Sponsored By Apple Music One of the most surprising developments in hip-hop business history might be seeing Apple Music support Jay-Z’s 30th anniversary celebration for Reasonable Doubt after years of Jay publicly positioning himself against Apple and other major streaming platforms. Let’s not forget the history: 📅 2013: Jay-Z Partners With Samsung When Jay-Z released Magna Carta Holy Grail, he partnered with Samsung in an effort to create an alternative path outside of Apple’s ecosystem. The deal was viewed as a direct challenge to Apple’s dominance and a way to push culture toward Samsung rather than the iPhone. 📅 2015: The TIDAL Era After acquiring TIDAL, Jay-Z became one of the loudest voices advocating for artist ownership and independence from major tech corporations. During his famous TIDAL concerts and speeches, Jay questioned why consumers were willing to support billion-dollar corporations like Apple and Spotify but were hesitant to support a Black-owned streaming platform. 🗣️ His message was clear: “Artists over algorithms.” He argued that ownership mattered more than convenience and that creators deserved a larger share of the revenue generated from their work. 📅 2017: Jay-Z Takes Shots At Apple Music On 4:44, Jay-Z appeared to address the streaming wars directly on “Smile.” 🗣️ “F*** a slice of the apple pie, want my own cake.” 🗣️ “Respect Jimmy Iovine, but he gotta respect the Elohim as a whole new regime.” The message was obvious: Jay didn’t want a piece of Apple’s business. He wanted ownership and control of his own platform. 📅 2018: Jay-Z & Beyoncé’s “BOSS” On Everything Is Love, Jay-Z seemingly doubled down on those frustrations. 🗣️ “Ns getting jerked, that s hurts, I take it personally. N***s rather work for the man than to work with me.” Many interpreted the line as frustration toward artists choosing deals with Apple Music and other corporate giants instead of supporting TIDAL and Black-owned ventures. 📅 2026: Apple Music Sponsors Jay-Z’s Brooklyn Celebration Fast forward to today, and Apple Music is helping support Jay-Z’s Reasonable Doubt 30-year anniversary pop-up event in Brooklyn. 👀 The same company that was once viewed as TIDAL’s biggest competitor is now partnering with Jay-Z to celebrate one of the most important albums in hip-hop history. The bigger question is: Was Jay-Z wrong back then, or is this simply business evolving? Because for over a decade, Jay-Z preached ownership, independence, and building alternatives to tech giants. Now one of those very tech giants is helping celebrate his legacy. 💭 Maybe this is proof that business isn’t personal. 💭 Maybe it’s proof that ownership battles eventually become partnership opportunities. 💭 Or maybe it’s just another reminder that in the music industry, today’s competitor can become tomorrow’s business partner. Either way, if you followed the Samsung, TIDAL, Apple Music, and streaming wars over the last decade, seeing Apple Music attached to a Jay-Z celebration is something very few people would’ve predicted back in 2015.
0:43

🤔📱 The Irony Of Jay-Z’s 30-Year “Reasonable Doubt” Celebration Being Sponsored By Apple Music One of the most surprising developments in hip-hop business history might be seeing Apple Music support Jay-Z’s 30th anniversary celebration for Reasonable Doubt after years of Jay publicly positioning himself against Apple and other major streaming platforms. Let’s not forget the history: 📅 2013: Jay-Z Partners With Samsung When Jay-Z released Magna Carta Holy Grail, he partnered with Samsung in an effort to create an alternative path outside of Apple’s ecosystem. The deal was viewed as a direct challenge to Apple’s dominance and a way to push culture toward Samsung rather than the iPhone. 📅 2015: The TIDAL Era After acquiring TIDAL, Jay-Z became one of the loudest voices advocating for artist ownership and independence from major tech corporations. During his famous TIDAL concerts and speeches, Jay questioned why consumers were willing to support billion-dollar corporations like Apple and Spotify but were hesitant to support a Black-owned streaming platform. 🗣️ His message was clear: “Artists over algorithms.” He argued that ownership mattered more than convenience and that creators deserved a larger share of the revenue generated from their work. 📅 2017: Jay-Z Takes Shots At Apple Music On 4:44, Jay-Z appeared to address the streaming wars directly on “Smile.” 🗣️ “F*** a slice of the apple pie, want my own cake.” 🗣️ “Respect Jimmy Iovine, but he gotta respect the Elohim as a whole new regime.” The message was obvious: Jay didn’t want a piece of Apple’s business. He wanted ownership and control of his own platform. 📅 2018: Jay-Z & Beyoncé’s “BOSS” On Everything Is Love, Jay-Z seemingly doubled down on those frustrations. 🗣️ “Ns getting jerked, that s hurts, I take it personally. N***s rather work for the man than to work with me.” Many interpreted the line as frustration toward artists choosing deals with Apple Music and other corporate giants instead of supporting TIDAL and Black-owned ventures. 📅 2026: Apple Music Sponsors Jay-Z’s Brooklyn Celebration Fast forward to today, and Apple Music is helping support Jay-Z’s Reasonable Doubt 30-year anniversary pop-up event in Brooklyn. 👀 The same company that was once viewed as TIDAL’s biggest competitor is now partnering with Jay-Z to celebrate one of the most important albums in hip-hop history. The bigger question is: Was Jay-Z wrong back then, or is this simply business evolving? Because for over a decade, Jay-Z preached ownership, independence, and building alternatives to tech giants. Now one of those very tech giants is helping celebrate his legacy. 💭 Maybe this is proof that business isn’t personal. 💭 Maybe it’s proof that ownership battles eventually become partnership opportunities. 💭 Or maybe it’s just another reminder that in the music industry, today’s competitor can become tomorrow’s business partner. Either way, if you followed the Samsung, TIDAL, Apple Music, and streaming wars over the last decade, seeing Apple Music attached to a Jay-Z celebration is something very few people would’ve predicted back in 2015.

Cousin Tino ™️

31,663 次观看 • 2 个月前

[NEW] a16z a16z speedrun 🧊 request for startups: Vibe Creation Platforms We've seen Vibe Coding platforms like Lovable and Bolt emerge for application development serving non-coding consumers --> We'll soon see VIBE CREATION as an entirely new consumer experience for crafting video, visual stories, games, and more The platform will require an end-to-end workflow orchestrated by AI agents --> Today, we have the infrastructure with foundation models across modalities, but most consumers won't jump from model site to model site to then stitch their creations together The winning solution will help consumers go from idea to first draft in minutes while enabling finer creative control for those that seek it --> This is how we go from AI internet memes to compelling human stories AI Vibe Creation platforms are designed for fun and creative flow. They remove the million knobs and sliders professional creators have come to expect --> They feel more like a game than a tool a16z speedrun has already invested in a few teams exploring this space: - VIDEO: Hedra (animated characters), intangible (canva for 3D) - GAMING: Rosebud AI (game generation), Nilo Technologies (3D worldbuilding) - IMAGE: (infinite canvas), Blank (instagram for AI), - VISUAL STORIES: Komiko (anime), Sekai (tiktok for interactive stories) We believe there will be many great vibe creation platforms to be built across medium (video, music, game, etc), genre/niche (anime, 3D, sports) and platform (mobile, web, XR) if you're building in this space, DM us and apply for speedrun!
1:51

[NEW] a16z a16z speedrun 🧊 request for startups: Vibe Creation Platforms We've seen Vibe Coding platforms like Lovable and Bolt emerge for application development serving non-coding consumers --> We'll soon see VIBE CREATION as an entirely new consumer experience for crafting video, visual stories, games, and more The platform will require an end-to-end workflow orchestrated by AI agents --> Today, we have the infrastructure with foundation models across modalities, but most consumers won't jump from model site to model site to then stitch their creations together The winning solution will help consumers go from idea to first draft in minutes while enabling finer creative control for those that seek it --> This is how we go from AI internet memes to compelling human stories AI Vibe Creation platforms are designed for fun and creative flow. They remove the million knobs and sliders professional creators have come to expect --> They feel more like a game than a tool a16z speedrun has already invested in a few teams exploring this space: - VIDEO: Hedra (animated characters), intangible (canva for 3D) - GAMING: Rosebud AI (game generation), Nilo Technologies (3D worldbuilding) - IMAGE: (infinite canvas), Blank (instagram for AI), - VISUAL STORIES: Komiko (anime), Sekai (tiktok for interactive stories) We believe there will be many great vibe creation platforms to be built across medium (video, music, game, etc), genre/niche (anime, 3D, sports) and platform (mobile, web, XR) if you're building in this space, DM us and apply for speedrun!

Troy Kirwin

138,788 次观看 • 1 年前

🚨 The Next Evolution of AI Music is Here 🚨 We haven’t been standing still. We’ve been building at an incredible pace, with laser-sharp focus, pushing the boundaries of AI-powered music creation like never before. Our latest upgrade isn’t just more powerful—it’s more versatile, precise, and deeply creative than anything before. 🎶 Proof is in the sound: This song was generated from a simple prompt—“Blues with slight Arabian influence about a man lost in the desert searching for his bride.” Listen to the end and hear how $SUEDE AI captures emotion, style, and storytelling like never before. But this is just the beginning. Our new features are built for artists who want total creative control. Get extremely granular with how you craft and shape your sound: 🎛️ Full Production Control – Download an entire pack of every isolated instrument. 🎤 Use Your Own Voice – Or someone else’s. 📝 Exact Lyrics, Your Way – Have your words set to music seamlessly. 🎶 Reference Songs – Upload one for style analysis, extraction, and modeling—or simply note a publicly available track. 🔊 Text-to-Speech & AI Vocalists – Shape voices like never before. 🎼 Melody Collaboration – Upload a melody idea and let others build around it—or vice versa. However, due to cost considerations, we’ve capped it at 3 free songs per trial until subscription payments roll out in the next day or two. We’ll be launching a new payment gateway soon, so stay tuned for more details. And remember, all of this is powered by the $SUEDE token. It fuels the entire ecosystem, allowing artists to generate, own, and monetize their work like never before. We’re still working out a few kinks—like image generation—but prepare to be impressed. A major post is coming soon, breaking down these game-changing features and the revenue model behind them. Thread dropping soon. Turn notifications on. $SUEDE powers the future of culture. #SuedeAI #Web3Music
3:38

🚨 The Next Evolution of AI Music is Here 🚨 We haven’t been standing still. We’ve been building at an incredible pace, with laser-sharp focus, pushing the boundaries of AI-powered music creation like never before. Our latest upgrade isn’t just more powerful—it’s more versatile, precise, and deeply creative than anything before. 🎶 Proof is in the sound: This song was generated from a simple prompt—“Blues with slight Arabian influence about a man lost in the desert searching for his bride.” Listen to the end and hear how $SUEDE AI captures emotion, style, and storytelling like never before. But this is just the beginning. Our new features are built for artists who want total creative control. Get extremely granular with how you craft and shape your sound: 🎛️ Full Production Control – Download an entire pack of every isolated instrument. 🎤 Use Your Own Voice – Or someone else’s. 📝 Exact Lyrics, Your Way – Have your words set to music seamlessly. 🎶 Reference Songs – Upload one for style analysis, extraction, and modeling—or simply note a publicly available track. 🔊 Text-to-Speech & AI Vocalists – Shape voices like never before. 🎼 Melody Collaboration – Upload a melody idea and let others build around it—or vice versa. However, due to cost considerations, we’ve capped it at 3 free songs per trial until subscription payments roll out in the next day or two. We’ll be launching a new payment gateway soon, so stay tuned for more details. And remember, all of this is powered by the $SUEDE token. It fuels the entire ecosystem, allowing artists to generate, own, and monetize their work like never before. We’re still working out a few kinks—like image generation—but prepare to be impressed. A major post is coming soon, breaking down these game-changing features and the revenue model behind them. Thread dropping soon. Turn notifications on. $SUEDE powers the future of culture. #SuedeAI #Web3Music

Suede Labs

17,425 次观看 • 1 年前

🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 StarlightDaryl 🎵✨🔭 VTuber Composer 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ ➡️ VEXPO ‘26 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!
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🌟ANNOUNCEMENT🌟 'KOUNTER KLOCKWISE' - A full Ouro Kronii community fansong EP is in the works from RiKU's WUNDERLaND! My server got together to write a bunch of songs for Kronii's birthday this year, releasing in a couple of weeks time! BUT we really need your help!! We're looking for 2 things: 1) Animators 2) Financial support for distribution For 1) - We are looking for animators to help finish up the MV for lead single "Your Time Has Come" - an original Kronii VS Ame WUNDER RiKU fansong with features from Zephyrianna 🐦💫 StarlightDaryl 🎵✨🔭 VTuber Composer 사기 🐇🖤 mention after DM and animation lead by the team behind Chrono Gear: Warden of Time ⏳ Out Now! (also peep that key art by ＡＲＱ ➡️ VEXPO ‘26 👀)! If you're interested in joining, hit up our Discord and introduce yourself as an animator willing to help out with clean up and colouring! For 2) - Due to the 'pay-per-artist' business model of music distributors, the distribution fees for a 'various artists' album like this is likely to set me back a couple hundred dollars with Tunecore... which feels insane, but is the truth of the industry. All the costs of this project are covered by myself, so if you would like to help ease the financial burden of releasing a cool community project like this then consider dropping some tips/donations/subscriptions to my ko-fi, Patreon or YouTube channel membership. After Under the Stars, The World Outside and Music Box of Fate charity song, doing these kinds of community projects mean so much to me. And for this one, I'm so proud to be able to shine a light on the amazing songwriting in my community, and the incredible art and animation talent in the Hololive community!

WUNDER RiKU 🎵🪽 Songwriter| ✈️ ➡️ OffKai

38,554 次观看 • 6 个月前

Last night we had a magical and important night at Views. PS: we are gearing up for our Friday (13th March) evening with G.C Cameron and Mighty Popo ( Coming back to yesterday: We brought our two legends together, to meet, talk and learn about our #culture , share the #creation #production processes… from thinking about a song, to writing it, and recording it. Our case studies now 😎 #umunezero #iwacu #kana by our very own legend CEKA I RWANDA Then travelled few miles away (for the Jazz, Soul, and the Blues), to learn the creation process of hit songs like #mygirl by the famous #Motown band #thetemptations with G.C Cameron as the lead singer, and another song #itsashame by his first band #thespinners where he was also a lead singer G.C Cameron’s first song was written by Stevie Wonder …. (Did you know?) By the way, G.C gave us a small history background on how the famous song by The Spinners “it’s a shame” , written by #StevieWonder , was a one take record (very rare) when G.C and his band reached the studio. We also spoke and learned about the creation and production process of the world hit song G.C Cameron sang with the Temptation #Mygirl . It was written by the famous Smokey Robinson who worked closely with G.C back in his early days. Final sharing moment 🔥 Our very own Samuel Kamanzi sharing some amazing hints on his creation process, and learned from him about an amazing #Rwandan elder who did an amazing work on researching and writing about the roots of #Rwandan #music Why having these evenings? For the #culture , learning about it, teaching it, exporting it, and more importantly, connect it with other cultures. Nothing beats #music to do just that. For #creativity , understand the #creation process, how a global creation comes to be, role of each in the process, and more importantly finding patterns to guide the future generation of music #artists for even greater creations, and creating long lasting music. Thank you Gatete Nyiringabo Ruhumuliza 🌞 for hosting us, and creating a space where we can bring #artists together, learn, share, create, and innovate.
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Last night we had a magical and important night at Views. PS: we are gearing up for our Friday (13th March) evening with G.C Cameron and Mighty Popo ( Coming back to yesterday: We brought our two legends together, to meet, talk and learn about our #culture , share the #creation #production processes… from thinking about a song, to writing it, and recording it. Our case studies now 😎 #umunezero #iwacu #kana by our very own legend CEKA I RWANDA Then travelled few miles away (for the Jazz, Soul, and the Blues), to learn the creation process of hit songs like #mygirl by the famous #Motown band #thetemptations with G.C Cameron as the lead singer, and another song #itsashame by his first band #thespinners where he was also a lead singer G.C Cameron’s first song was written by Stevie Wonder …. (Did you know?) By the way, G.C gave us a small history background on how the famous song by The Spinners “it’s a shame” , written by #StevieWonder , was a one take record (very rare) when G.C and his band reached the studio. We also spoke and learned about the creation and production process of the world hit song G.C Cameron sang with the Temptation #Mygirl . It was written by the famous Smokey Robinson who worked closely with G.C back in his early days. Final sharing moment 🔥 Our very own Samuel Kamanzi sharing some amazing hints on his creation process, and learned from him about an amazing #Rwandan elder who did an amazing work on researching and writing about the roots of #Rwandan #music Why having these evenings? For the #culture , learning about it, teaching it, exporting it, and more importantly, connect it with other cultures. Nothing beats #music to do just that. For #creativity , understand the #creation process, how a global creation comes to be, role of each in the process, and more importantly finding patterns to guide the future generation of music #artists for even greater creations, and creating long lasting music. Thank you Gatete Nyiringabo Ruhumuliza 🌞 for hosting us, and creating a space where we can bring #artists together, learn, share, create, and innovate.

Raoul Rugamba

16,504 次观看 • 6 个月前