50 Cent’s upcoming documentary surrounding Diddy’s history of alleged sexual abuse is coming to Netflix.
Related
A Timeline of Diddy’s Sexual Misconduct Allegations
Per Variety, the doc produced by the G-Unit mogul is currently in production and will call the streaming giant home, with Alexandria Stapleton directing. The untitled work will center around Sean Combs’ sexual assault and abuse allegations, and also tie in his recent federal charges for racketeering and sex trafficking.
“This is a story with significant human impact. It is a complex narrative spanning decades, not just the headlines or clips seen so far,” 50 and Stapleton relayed in a joint statement to Variety on Wednesday (Sept. 25). “We remain steadfast in our commitment to give a voice to the voiceless and to present authentic and nuanced perspectives.”
They continued: “While the allegations are disturbing, we urge all to remember that Sean Combs’ story is not the full story of hip-hop and its culture. We aim to ensure that individual actions do not overshadow the culture’s broader contributions.”
50’s G-Unit Film & Television division will executive produce the documentary, while Stapleton is on board to helm the project and also produce through her company House of Nonfiction.
The documentary does not yet have a release date time frame or details regarding how many parts it will include.
50 originally announced plans for the doc about Diddy in December following a bombshell lawsuit filed by the Bad Boy CEO’s ex Cassie a month prior.
A spokesperson for 50 Cent confirmed to Billboard in December that proceeds received by 50’s G-Unit Film & Television division from the project will go toward helping victims of sexual assault and rape.
50’s been relentless in his trolling of Diddy for months even prior to the music mogul being indicted. “I been telling y’all about all this weird s–t, I don’t do NO puffy party’s. you didn’t believe me but I bet you believe me now,” he wrote on social media Wednesday alongside his announcement of the doc coming to Netflix.
He didn’t stop there when jabbing his longtime rival. The Queens legend posted a Photoshopped picture on Instagram of baby oil, which he rebranded to a bottle of “Diddy Oil.” Investigators reportedly seized more than 1,000 bottles of baby oil and lubricant when raiding Diddy’s L.A. and Miami homes earlier this year, according to the Associated Press.
Sean Combs was arrested on Sept. 17 in NYC and has since been denied bond twice. Diddy will remain in prison until his trial. He has pleaded not guilty to the charges.
As the countdown continues to the 58th annual CMA Awards, set to air live from Nashville’s Bridgestone Arena on Nov. 20, country music fans will be anxious to see who takes home the evening’s top prize — entertainer of the year. This year, the nominees are Luke Combs, Jelly Roll, Chris Stapleton, Morgan Wallen and Lainey Wilson.
Luke Bryan, a two-time CMA entertainer of the year winner himself, is offering his thoughts to Billboard on who could potentially take home this year’s EOY accolade.
“I look back at when I won CMA entertainer of the year and in my opinion, that’s always been about who has sold the most tickets and has been kind of the most impressive thing out there in the touring world,” Bryan says.
Each of the nominees has been selling out headlining shows in venues ranging from amphitheaters and arenas to stadiums: Wallen on his One Night at a Time Tour, Combs on his Growin’ Up and Gettin’ Old Tour, Stapleton with his All-American Road Show Tour, Jelly Roll with his Beautifully Broken Tour and Wilson with her Country’s Cool Again Tour.
“When I look at what Morgan Wallen’s doing out there, selling out multiple [stadiums], and I know Luke Combs is doing that too, and obviously, they’re just both great entertainers,” Bryan says. “I don’t know who to sit there and put my endorsement on, but I have just been in awe watching Morgan Wallen go from being on some of my stadium tours and hanging on the bus with me, to watching him just really put up Garth Brooks-like stadium shows, has been pretty incredible. So, I think certainly it’d be something really, really great if Morgan might get him one or two, or three or four the next couple of years. But I think they’re all worthy of it. Lainey won last year, and that’ll probably put her in the front-runner spot, too, but it is a hot seat kind of thing. They all got my vote.”
Wallen, who scored his third CMA entertainer of the year nomination this year, leads this year’s overall CMA nominees with seven nods. Meanwhile, Stapleton earned his eighth nomination in the entertainer of the year category (he has yet to win the prize), while Combs earned his fifth nomination in the category (he has previously won twice), Wilson picked up her second EOY nomination (she is the reigning CMA EOY winner) and Jelly Roll nabbed his first nomination in the category this year.
Bryan is gearing up for the release of his new album, Mind of a Country Boy, on Friday (Sept. 27). The 14-song album features his current single, “Love You, Miss You, Mean It,” which currently resides at No. 8 on Billboard‘s Country Airplay chart.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 18:34:432024-09-25 18:34:43Here’s Why Luke Bryan Is ‘In Awe’ of Morgan Wallen
If you attend one of the upcoming Daryl Hall-Howard Jones concert in November, you’ll be treated to the same high-caliber musicianship that make’s Hall’s video series, Live From Daryl’s House, a must-see for music lovers.
“My band is the best band on Earth,” Hall tells Billboard’s Behind the Setlist podcast about guitarist and musical director Shane Theriot, keyboardist Greg Mayo, drummer Brian Dunne, bass player Klyde Jones, percussionist Porter Carroll Jr. and saxophone player Charlie DeChant. In each episode, the Live From Daryl’s House house band performs a handful of songs with a diverse group of musical guests who have recently included Jones, singer-songwriters Andy Grammer and Lisa Loeb, Robert Fripp, and Charlie Starr of the Southern rock band Blackberry Smoke.
Most musicians would face a steep learning curve performing the songs, but Hall and his crew make it look effortless. The band is so good that, according to Hall, the members don’t rehearse together before taping. Instead, Hall spends a little time on the songs with Theriot, and each band member has the music at home. “We get together in that room, turn the cameras on, and that’s what you see,” he explains.
Take the episode with Fripp, the former King Crimson band leader who struck up a friendship with Hall in the mid-‘70s and produced 1980 album Sacred Songs. Hall says Fripp was blown away by performing with Hall’s band. Fripp joined Live From Daryl’s House for renditions of such songs as “You Burn Me I’m a Cigarette” (co-written by Fripp and Hall), King Crimson’s “Red,” David Bowie’s “Heroes” and “Babs and Babs” from Hall’s Sacred Songs.
“[Fripp] said, ‘I have never worked with a band that didn’t take at least three or four days to even begin to learn these songs. You guys just played them,’” says Hall. “I mean, it flipped Robert out.”
The tour is like a traveling version of Live From Daryl’s House. After Jones opens the show with the Daryl’s house band, Hall, who’s supporting his latest album, D, will perform a set with the same band. Near the end of Hall’s set, Jones will join Hall on stage to trade vocals on each other songs and perhaps throw in a cover song or two.
Hall and Jones were hitmakers at roughly the same time in the ‘80s. By the time Jones crashed the U.S charts in the mid’-80s with songs such as “Things Can Only Get Better,” “Life in One Day” and “New Song,” Hall was basking in the success of Hall & Oates’ 1980 album Voices, which contained “Kiss on My List” and “You Make My Dreams (Come True),” and 1981’s Private Eyes, which spawned the hit title track and “I Can’t Go for That (No Can Do).”
Until recording Live From Daryl’s House last year, Hall and Jones had never met. Now they’re prepping for a short tour together. “Howard and I get along really well, and I think he’s great,” says Hall.
The eight-date tour starts in Orlando, Fla., on Nov. 7, heads north to Evans, Ga., on Nov. 16, Nashville and Knoxville in Tennessee, and culminates in Atlantic City, N.J., on Nov. 23. Before the tour kicks off, Hall will perform a free, private concert on Oct. 31 to celebrate the 10th anniversary of the Daryl’s House Club venue and restaurant in Pawling, N.Y.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 18:25:302024-09-25 18:25:30Daryl Hall Gushes About Having ‘the Best Band on Earth,’ Concert Dates With Howard Jones
On nights when there are no live acts playing Sphere Las Vegas, the venue’s Exosphere (its one-of-a-kind outer LED screen) reads, “U2 are not here.” However, five nights a week inside the immersive venue, U2 can be seen performing the best of their U2:UV residency that ran from September 2023 to March 2024 through concert film V-U2. Captured via the Sphere’s proprietary Big Sky camera system, the concert film is just as good as, if not better than, the Irish band’s actual show.
Directed by U2’s The Edge and his wife Morleigh Steinberg, V-U2 brings a slew of firsts to the almost one-year-old venue and its content creation capabilities. The film – captured over three nights of the band’s sold-out residency at Sphere – is part of a growing slate of programming for Sphere Experiences, which run when there is no live residency or special event at the Las Vegas venue. Sphere Experiences also include the Darren Aronofsky film Postcard from Earth.
“V-U2 was born out of a conversation with the band, ‘How do we memorialize this moment’” of U2’s historic Sphere residency, says Sphere Studios’ senior vp of capture Andrew Shulkind, who served as the film’s director of photography. “For 100 years of movie making, we’ve been telling stories through a rectangular lens. This is a different kind of storytelling. There’s no way to tell this story in a traditional way. You could cut it up, have wide-angle lenses, or have a choppy concert film, but nothing could recreate the Sphere experience.”
Nothing except maybe the technology that makes the live sphere experience possible.
“Coincidentally, we’ve been building cameras to capture other content [outside] the venue,” Shulkind says. “If we can tell the story of what it’s like to be in a sulfur volcano for Postcard or flying over Mont Blanc, why not tell the story of being inside Sphere [during a concert] with our very own technology?”
When Shulkind was first commissioned to work at the Sphere in 2018, the company faced a dilemma of creating images sharp enough for their screens when off-the-shelf-cameras would not suffice. After pursuing different avenues, the Sphere team created the Big Sky camera in 2021. “The camera, lens and all its components are entirely internal technology on which we have 10 patents,” says Shulkind. “Nobody else needs that crazy level of resolution. Coincidentally, the game-changing technology has pushed the business forward.”
The Big Sky technology debuted in Aronofsky’s Postcard from Earth, capturing the images and video required for the Sphere’s 16K x 16K immersive display plane from edge to edge. It also features the largest single sensor in commercial use—a 316-megapixel, 3” x 3” HDR image sensor capable of a 40X resolution increase over 4K cameras. Big Sky can capture content up to 120 frames per second in the 18K square format and higher speed frame rates at lower resolutions.
V-U2: An Immersive Concert Film
Using the same technology, producer Alan Maloney, U2, Sphere Studios and the venue, the teams collaborated to shoot over three nights of the 40-date residency (two in February and one in March) to create V-U2, the first film shot entirely on Big Sky cameras.
Working for more than two months on the edit of V-U2 at the Sphere Studios Big Dome in Burbank, Calif. – with a quarter-sized version of the screen and haptic seats and sound featured in the venue – Steinberg (who is an accomplished director and choreographer that choreographed many of Bono’s moves for the Zoo TV Tour in the 1990s) and The Edge wanted to make sure the final product wasn’t just a concert film or a documentary, but a faithful recreation of the live with the most precise view of U2 possible, down to the details on their shoelaces.
“Seeing the band like that—whether you’re high up or in the lower seats. That’s amazing for fans,” Steinberg says.
However, from the director’s perspective, the medium posed significant challenges. “You can’t easily see your edits. You’re either looking through an Oculus [headset] or at a very low-resolution image on a monitor. You quickly learn what you might not be seeing and make compensations for that,” Steinberg says.
Related
Eagles’ Classic Catalog Is More Vivid Than Ever at Night 1 of Las Vegas Sphere Residency: 6…
One of the most complex production pieces was transforming the 100-minute U2:UV into the 82-minute V-U2. This called for interweaving the setlist of U2:UV with some of the classic covers performed throughout the residency, such as Elvis Presley‘s “Love Me Tender,” Lou Reed’s “Walk on the Wild Side” and Frank Sinatra’s “My Way.”
The directors wanted to reflect the arc of the live show into the concert film and “also considered that this will be viewed by a broader audience, not just U2 fans,” Steinberg says. “People are coming to see what the Sphere can do. The first three songs of the film are a perfect example of that. However, we do ask the audience to sit through two songs where there are no [background] visuals [just a shot of the band]. Even if you aren’t a U2 fan, there’s much to enjoy and experience.”
Steinberg says the film captures the best moments of the residency in new depth and sharpness, with a fresh perspective. The rendition of “‘The Fly’ is a brilliant piece in the film … the space morphs and gives the illusion of the room becoming square. It is a true use of the word ‘awesome,’” she says. “There are shots from the stage, looking out at the audience, which is a new perspective you don’t normally have.”
The track “One” features a camera angle on Bono that Shulkind characterizes as the biggest close-up ever filmed. “The ability to show Bono in this very intimate moment during this intimate song that everybody knows was so powerful,” he says. “It blew everyone away.”
V-U2: An Immersive Concert Film
“We had to shrink it down a little bit. It was even bigger,” Steinberg says of the stunning image that showcases Bono in grand detail. “The camera then slowly pulls back, revealing the band. The moment extends into an infinite view of the room, with everyone in the audience holding up their lights.”
The sound of the audience from the original live events also played a critical role in developing the concert film. Captured on crowd mics placed through the venue during the live shows in February and March, the audience can be heard during the film – between and over songs – responding to the band’s performance. “So much of that rawness and bits of unexpected magic parallel the imaging side,” says Shulkind. “You hear the show’s little imperfections and human aspects.”
Related
Sphere Posts $170M Revenue as CEO James Dolan Eyes Second Market ‘Soon’
V-U2 is set to play regularly as Sphere Experiences continue to be created. While it is not yet determined whether every band in residency at Sphere will get their own film, the content has been collected at Phish and Dead & Company shows and will be captured during the Eagles’ current run.
“We will continue to capture every band that comes through,” says MSG Entertainment’s executive vp of live Josephine Vaccarello. “Everyone who comes into our venue is learning how to play with the tools we have in the toolbox differently. We’re continually trying to figure out how we innovate and how we continue to grow, and this was one of the ways.”
“Every Sphere show is a unique moment in time,” Shulkind says. “We’re still figuring out what that looks like for other shows. It’s an endless journey of discovery because we’re learning how this new medium works.”
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 18:20:412024-09-25 18:20:41Behind the Scenes of ‘V-U2,’ Sphere’s First Original Concert Film
The Dumb Blonde podcast host took to TikTok to share a snippet of one of her husband’s unreleased love songs. “He wrote me a new song,” she captioned the video, which features scenes of the couple having fun and spending time together. “Woman, without you on my lips/ I’d just be a man doing things I know I should quit,” Jelly is heard singing in the clip, which you can watch here.
The couple first met back in 2015, when Bunnie watched Jelly Roll perform at Sin City’s Country Saloon in Las Vegas. They tied the knot a year later, in August 2016.
While it’s not yet confirmed, the unreleased track will seemingly appear on Jelly Roll’s upcoming album, Beautifully Broken, out on October 11. He previously released Whitsitt Chapel in June 2023. The album peaked at No. 3 on the all-genre Billboard 200, reached No. 2 on Top Country Albums and took the No. 1 spot on Top Rock Albums. The star also nabbed 2024 Grammy nominations best new artist and best country duo/group performance for “Save Me,” his collaboration with Lainey Wilson, which peaked at No. 19 on the Billboard Hot 100.
The net profits from every pre-order of Beautifully Broken made via his website will go to organizations who are helping those who are facing challenges with mental health and addiction struggles. The four organizations who will benefit are Wounded Warriors Project, Folds of Honor, the National Alliance on Mental Illness, and Shatterproof.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 18:10:482024-09-25 18:10:48Bunnie XO Shares Snippet of Love Song Jelly Roll Wrote for Her
Texas’ Maxo Kream and Cali’s Tyler, the Creator team up for a Big Western Showdown.
Directed by Karim Belkasemi, the duo keep it simple, yet stylish for the “Cracc Era” music video as they rap over Tyler production fitted up in a studio with a white backdrop. The beat harkens back to the Odd Future boss’ older style and will be easy to replicate on a lunchroom table top like “Grindin’” by The Neptunes. Tyler’s verse is short, but his voice goes perfect with the beat as he spits, “N—a two-tonе, two-door, watchin’ Juno, you know/Who them is when you see n—s in them Unos” and handles chorus duties. Maxo, on the other hand, raps a longer verse in his signature cadence and displays some intricate wordplay. “My Hoover Crips your Ruger clips/Like Ludacris, I throw a bow/I finish him like Liu Kang, I want the brain like Al Snow,” he raps before talking about his “jackin’” days.
Maxo and Tyler have great chemistry and probably should consider working together more often. This is their second collaboration, with the first being 2021’s “Big Persona” from the Texas rapper’s Weight of the World album.
Maxo seems to be gearing up to dropping an album this year. He’s been keeping a steady pace, releasing a handful of singles and got some features in to keep the pen sharp, most notably “H Town Texas” with Big Tony and “Talkin In Screw” with That Mexican OT.
Earlier this year, he lost his father and began a weight loss journey. He’s down more than 75 pounds and looks forward to making some noise with his next project. A single produced and featuring Tyler is a good start.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 17:50:372024-09-25 17:50:37Watch Maxo Kream & Tyler, the Creator Take It Back to the ‘Cracc Era’
Andrew Batey is best known to the music industry as the founder of streaming fraud prevention company Beatdapp. But for the last six years, Batey has been simultaneously building up a venture capital firm called Side Door Ventures. “I always wanted to just be viewed as a founder, but Beatdapp is probably my last company,” says Batey, a serial entrepreneur, who has also built companies in the restaurant and digital marketing industries. “I started thinking about where I want to transition to eventually, and I believe it’s investing.”
For the last 15 years, Batey says he’s mentored hundreds of companies at different accelerators, which is where he got the itch to start stepping into the investor role. After years of angel investing to check his aptitude, he realized, “I feel like I’m really good at picking the right companies.”
Related
Streaming Fraud ‘Hurts Everyone.’ Beatdapp Wants to Change That
Side Door quietly launched in 2018 and comprises 14 different smaller funds covering a wide array of disciplines — space travel, blockchain, manufacturing and more. Investors are also interested in music and entertainment, too, though Batey says it needs to be something he believes he can grow “by 100x” and “there are not that many” entertainment startups that fit that bill. To date, he’s made investments in companies like SpaceX, Pipe, Plaid, Varda and EtherFi, as well as music-related startups like JKBX and the now-defunct superfans app Renaissance, which he felt particularly passionate about.
In total, Batey says Side Door has averaged 61% gross internal rate of return across all funds since its launch and has over 100 companies in its portfolio.
Now that Beatdapp has established itself as an industry leader with partnerships with Universal Music Group, the Mechanical Licensing Collective, Beatport, SoundExchange and more, Batey is ready to talk about Side Door Ventures for the first time.
Why are you making your press debut, six years into Side Door Ventures?
To talk about it too early seemed like a giant, “Look at me! Look at me!” And that’s not really what a founder needs — a founder needs help. I’ve always just felt comfortable being the neck that moves the head, but I’ve lost my ability to be stealthily leading this, the more checks we’ve written.
In the beginning, a lot of startups just thought I was a founder. As soon as we had that founder-to-founder rapport, the person would just start sharing all these things that he wouldn’t have shared with an investor. But none of them were deal breakers. I found the transparency actually really great. There was a strength in meeting a founder at their level, without them knowing you’re the investor.
Related
North Carolina Musician Accused of $10M Streaming Fraud With AI-Generated Songs
I named the fund Side Door Ventures because they never saw it coming when I would meet with the founder. They just thought I was mentoring them, and then I would suddenly be like, “I’d like to write a half million dollar check.”
It really favored us well because I wasn’t convincing them why they needed our money. I gave them advice and mentorship first, and then told them I wanted to write the check and that’s the exact thing they want. Many want someone that’s going to be helpful, and not someone just writing a check. In really tight funding rounds where people get pushed out, we often got into them early on when we should never have been.
But the cat’s out of the bag, and I’m ready to just own it.
What makes Side Door Ventures different from others in the field?
Fundamentally, the way we’ve been billed as a fund is entirely different than everyone else. We intentionally started with small funds that are $10 million to $30 million each. We have 14 funds overall.
When I started the fund, I had a big family that offered to give me $100 million to get started, and they wanted to know what my strategy would be. I always felt that big funds are really hard to return. So my strategy was, Why don’t we make a bunch of smaller funds of higher return multiples that traditionally perform better?
When I started talking to fund managers, though, they thought it was crazy. They’re like, “Institutions won’t bankroll that — a pension fund wants to have a check size of at least $10 million.” If you’re building a fund to please people covering their ass, you’re not building a fund for optimal returns. And if I was building a fund for optimizing returns, and if this was my money, I would go the opposite way and make a bunch of small funds. So my customer investor is totally different than most. My customers are high net worth individuals and families who care more about the returns, and less about whether I check a box.
For every small fund we have a slightly different iteration. We have one with the state of Michigan which is just focusing on manufacturing, advanced materials and mobility — things that the state of Michigan has talent resources for. We have a web3 fund which focuses on blockchain. We have a seed fund which is focused on seed investing. We have a European fund focused on European college students, specifically. I don’t know any other funds doing it like this.
Related
The AI Music Honeymoon Phase Is Over
Most Billboard readers know you as the founder of Beatdapp. Given that background, do you have interest in investing in companies that are complementary to what Beatdapp does?
Because of Beatdapp, I have views on where the industry could still use a lot of help, and I probably have some unique data insights about where there’s juice to squeeze. But I view Side Door and Beatdapp as entirely separate. We don’t have any of the same investors, so I don’t take money in one entity and then bring it to the other. It’s a fully firewall situation where we have different investors, different teams, different everything.
If there is anything that I’m too privy to because of my work outside of Side Door — let’s say that I have a relationship with founders of a company — I generally sit out of the investment committee and let the rest of the committee decide so that there’s no bias going into the decision making.
I love music and entertainment. It’s a big part of my background, so I obviously want to invest in things that are in that sector. But the majority of all music companies exit for under $15 million. The reality is that music is not the best venture-backable investment, which means that there are very few companies that meet the sort of the requirements to warrant a venture capital investment from us.
We have a bunch of funds, but they’re all basically investing in things we think could [provide] 100x [returns]. So if you’re a music startup valued at $20 million, how many companies have exited that are over $2 billion? The answer is probably only a handful — like Spotify.
That means one of two things. I either have to catch you way earlier, like in your first round, or you need to be such an outlier that I believe the market will move in your direction. For example, we invested in JKBX. Why? If you think about JKBX as a trading entity and the fact that it’s more of a fintech play than it is a music play, you could see a platform getting traction. Now, will they make it or not? Only time will tell. But they have the profile to potentially be worth billions of dollars if they can build that habit formation and become another asset type.
Related
Want to Invest In Your Favorite Song? JKBX Bets Fans Will Bring Billions to Market
You have mentioned before that you learned a lot from investing in a superfan company, Renaissance, which ultimately went bust. Monetizing the superfan is such a hot topic in the music business right now. What did that experience teach you about the viability of superfan-related startups?
We see 7,000-8,000 deals a year, and I cannot think of another case where I saw a consumer-facing application that was as sticky with their fans as Renaissance. They had a million downloads — all organic, no marketing. They had 47% day-90 retention, meaning 47% of all users stuck with it after 90 days, which is insanely good. I think the average user launched the app 21 times per day — that’s like Instagram level.
The problem is that I don’t think they knew how to fully monetize it. Artists didn’t want to pay for it, labels didn’t want to pay for it. There wasn’t a big enough venture-backable business there. It was more of a $10 million to $15 million business, but how do you make that a $100 million business? They were struggling to figure out what could be scaled.
If this company who had the viral, organic growth and absolutely crushed it couldn’t figure out how to get those customers to pay, and couldn’t figure out how to get artists to pay, and couldn’t figure out how to get labels to pay, then how are any of these other fan apps going to make money?
The only way I think you can build a successful “superfan” business is by owning the merch pipeline itself — basically, you need to be the one that’s vertically integrated. You need to be integrating and selling the actual goods yourself so that you can build enough margins in there to support the business. If you were just a third party marketplace for all these other goods and services — like posters and tickets and merch — I don’t think there’s enough money there. I don’t believe that’s scalable.
Related
Everyone Wants to Reach Superfans. It Won’t Be Easy
This summer, the major labels filed a lawsuit against two AI music startups, Suno and Udio, and in early September, it was revealed that the use of AI music was instrumental in the scam alleged in the $10 million streaming fraud lawsuit. Do you see this affecting people’s confidence in AI music startups?
It could affect consumer confidence, but I do not think it will dissuade investors. The reality is, investors aren’t afraid of breaking things. Where a lot of people are mad because the status quo is changing, a lot of investors see that as a positive — as they say, “Volatility breeds profitability.”
However, what will succeed here is whoever comes up with a business model where everyone wins and it’s convenient for consumers, and they enjoy the experience. I haven’t seen one that wins yet. I haven’t seen a business model where consumers actually like it.
Look at the Drake–Weeknd guy [anonymous TikTok user Ghostwriter and his song “Heart On My Sleeve,” which used AI to deepfake Drake and the Weeknd]. His song was listened to millions of times, but it also had a pretty equal number of listeners. What that means is people were only listening to it one time or so and then leaving. It was a novelty. It wasn’t something that people saw longterm value in. Until there’s a product that people see longterm value, it’s not going to work.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 17:38:492024-09-25 17:38:495 Questions With Andrew Batey of Side Door Ventures: AI, Superfans and What He’ll Cut a Check For
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Many beauty products promise to give you glowing, bronzed or defined features, but rarely can you find one piece of makeup that can do it all. TikTok has seemingly done the impossible, though, and discovered a contour wand by Tarte that has gone viral for its claims of being a “makeup artist in a tube.” Now, the makeup brand has expanded the line with two additional shades, bumping it up to a total of 13 colors to pick from.
Labeled a dupe for the Charlotte Tilbury Contour Wand, Tarte’s Sculpt Tape has beauty lovers including TikToker Tatianna Anesa raving over the wide range of shades you can choose from (compared to Charlotte Tilbury’s two options), and how it “blends really, really beautifully.” The user gave a full review of Tarte’s contour wand — especially noting the texture — in a video that’s racked up almost 5,000 views.
“It’s subtle, but it’s definitely giving me that sculpted, bronze face,” Anesa says in the video.
Makeup enthusiasts can now choose from 13 shades of the Tarte Sculpt Tape depending on how sun kissed they’d like to appear. Rather than pick up a darker shade of foundation, the contour wand was created specifically to define your face using a liquid formula. To apply, just squeeze the tube and fill the foam applicator, then apply dots to the desired spots on your face and blend.
You can also take advantage of the buildable formula that allows you to apply makeup on top or underneath. When you’re done, the cap twists and locks into place to avoid any spillage.
TikTok isn’t the only place fans are praising the makeup product, either: Tarte reviewers can’t seem to get enough of the bronzer, saying it “melts right into your face” with each use.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 17:28:212024-09-25 17:28:21Tarte’s TikTok Famous Sculpt Tape Aims to Be a ‘Makeup Artist in a Tube’: Here’s Where to Buy It
Chappell Roan is making her position as clear as possible, once and for all. In a new TikTok video posted Wednesday (Sept. 25), the “Good Luck, Babe” singer offered one final explanation for her stance on the upcoming presidential election.
Related
All the Musicians Supporting Kamala Harris in the 2024 Presidential Election
In the clip, Roan says while she will be voting for Kamala Harris to become the next president of the United States, she will not endorse the vice president since she does not support some of her policies. “I’m voting for f–king Kamala,” she said in her video. “But I’m not settling for what has been offered, because that’s questionable.”
The new clip comes after a quote Roan gave to The Guardian went viral, in which she said that she didn’t “feel pressured” to endorse a candidate in the 2024 election because “there’s problems on both sides.” Many of the singer’s fans criticized her take, saying that former president Donald Trump and the Republican Party posed a much greater threat to the country than Harris or the Democrats.
While Roan addressed the lack of context in the quote in a TikTok posted on Tuesday evening (Sept. 24), she started her new video saying that she “woke up … to people skewing it even more” and made it abundantly clear why she would not endorse any candidate.
“Obviously, f–k the policies of the right — but also, f–k some of the policies on the left! That’s why I can’t endorse,” she said. “There is no way I can stand behind some of the left’s completely transphobic and completely genocidal views … F–k Trump, for f–king real, but f–k some of the s–t that has gone down in the Democratic Party that has failed people like me and you, and more so Palestine, and more so every marginalized community in the world.”
Roan also went on to explain that “endorsing and voting are not the same thing,” which is why she said that she would be casting her vote for Harris. “Actions speak louder than words,” she said. “Voting is all we have right now in this system, so I encourage it, yet again. Vote for who, in your mind, is the best option for what we have right now, because it’s all we can do. Yes, one’s obviously better than the other. But Jesus f–king Christ, I hope you don’t have to settle for what we have and put your name behind someone that you don’t fully, fully trust because of their blatant actions.”
Over the last few months, Roan has explained on multiple occasions that she does not support the Biden administration’s support and funding of Israel’s continued attacks on Gaza and the Palestinian people. During her set at Governors Ball in June, the singer said that she turned down an invite to perform at the White House for Pride Month because “we want liberty, freedom and justice for all.” In her cover story for Rolling Stone, she went on to explain that she originally planned to accept the invitation and read Palestinian poetry instead of performing as an act of protest.
Elsewhere in that interview, Roan also explained that she would be using her vote in 2024 to “protect people’s civil rights, especially the LGBTQ+ community,” while adding that she felt “lucky to be alive during an incredibly historical time period when a woman of color is a presidential nominee.”
For those hoping that the singer would even further explain her thinking on this issue, Roan made it clear in the caption of her TikTok video that this will be her last statement on the matter. “Im done talking about it. If you dont get what im saying from this, its a lost cause,” she wrote. “And im not forcing you to agree with me. This is my statement. Have a good day.”
Im done talking about it. If you dont get what im saying from this, its a lost cause. And im not forcing you to agree with me. This is my statement. Have a good day
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 17:28:202024-09-25 17:28:20Yes, Chappell Roan Is Voting for Kamala Harris — No, She Won’t Endorse Her: ‘Voting Is All We Have Right Now’
‘Raw, Riveting’ Posthumous Lisa Marie Presley Memoir Due Out in Fall
Lisa Marie Presley‘s death at 53 last year was attributed to a small-bowel obstruction the only child of Elvis Presley and Priscilla Presley suffered several years after weight loss-related bariatric surgery. But in a new interview with People magazine, Presley’s daughter, Daisy Jones & the Six star actress Riley Keough, said her mother’s passing was also due to a heavy emotional burden she carried.
Keough said that her brother Benjamin’s death by suicide in 2020 at age 27 had a profound effect on Presley. “My mom tried her best to find strength for me and my younger sisters after Ben died, but we knew how much pain she was in,” said Keough, 35, of Presley, who in addition to sharing Riley and Benjamin with ex-husband Danny Keough also had 15-year-old twins Finely and Harper with ex Michael Lockwood.
“My mom physically died from the after effects of her surgery, but we all knew she died of a broken heart,” said Keough. The People interview is packaged with an excerpt from Lisa Marie’s posthumous memoir, From Here to the Great Unknown, which is due out on Oct. 8. Presley had begun work on the autobiography before her death, with Keough stepping in to finish the book by listening to the hours of tape her mother had recorded before putting her stories into print.
“This extraordinary book is composed of both Lisa Marie’s and Riley’s voice, a mother and daughter communicating across the transom of death as they try to heal each other,” reads a press release about the book. “Profoundly moving and deeply revealing, From Here to the Great Unknown is a book like no other — the last words of the only child of a true legend.”
According to People, in the memoir Presley — who had previously told the magazine that she would never “move on” from her son’s death — says she and Keough healed their broken hearts by “helping people. One kid wrote to Riley and said, ‘I didn’t kill myself last night because of what you said it would do to my family and those that are left behind. So thank you.’ That helped me. That brought me up.’” Keough said that her brother’s death was “incredibly difficult to write about, as was my mom’s descent into addiction. And her own death, of course.”
The actress cautioned that the book is not strictly about grief, but also about the “very human experience of love, heartbreak, loss, addiction and family. [My mom] wanted to write a book in the hopes that someone could read her story and relate to her, to know that they’re not alone in the world. Her hope with this book was just human connection. So that’s mine.”
Keough will discuss the book in an upcoming Oprah Winfrey special from Elvis’ Graceland, An Oprah Special: The Presleys – Elvis, Lisa Marie and Riley, that will air on CBS and Paramount+ on Oct. 8.
https://i0.wp.com/neztelinc.com/wp-content/uploads/2020/10/station.nez_png.png?fit=943%2C511&ssl=1511943Yvetohttps://neztelinc.com/wp-content/uploads/2020/10/nez_png.pngYveto2024-09-25 17:28:202024-09-25 17:28:20Riley Keough Says Mom Lisa Marie Presley Died ‘Of a Broken Heart’
