Even in COVID-19, when almost all artists’ activities are frozen, Big Hit Ent still achieved estimated 49.7 million KRW in operating profits in the 1st half of 2020, in which selling merch and goods accounted for a large proportion, according to their latest financial report. This fact has urged me to learn more about merchandising. […]
Problem | Solution #3: MANAGING GLOBAL – LOCAL CULTURE Managers and artists now require labels to break them more quickly, or simultaneously, across multiple markets. The requirement exposes some of the limitations of labels’ current structure and corporate culture: 1. Informal collaboration is required (as opposed to the systematic global decision making that drives strategy […]
PRE-STREAMING In the pre-streaming era, the music market was a constant flow of “push and pray”. 1. In label side, they would use the single as the shortcut to finding an audience on which to propel the artist, and even more importantly, their latest album. 2. In radio stations side, they were largely in lockstep, […]
In music business, there are three revenue streams – one generated through the utilization of a song, one generated from live performances of that song, and one from the utilization of a particular recorded performance of that song. At the head of each revenue stream is a creative act – a song is written, a […]
PART I: BEYONCÉ’S STREAMING STRATEGY Netflix, Tidal and Spotify are the three major platforms by which Beyoncé segments her fandom. WHAT HAPPENED? A lot of people were surprised that Beyoncé’s Homecoming documentary went to Netflix. Others were also surprised that Homecoming: The Live Album is widely available and not a Tidal exclusive. Despite her ownership stake in Tidal, the […]
Muniverse 