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How pop stars like Beyoncé and Taylor Swift are embracing the social media concert

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When Diana Nada arrived at the airport in Stockholm last week, a customs agent asked her what the purpose of her trip was. The Toronto marketing professional gave the most honest answer she could muster.

“Well, there’s really only one,” Nada recalled saying. “It’s to see Beyoncé.”

The pop star’s Renaissance tour kicked off in the Swedish city on Wednesday, her first solo concert tour since 2016. As with many artists who have large followings, every detail from that Beyoncé concert was posted for the world to see and dissect to their heart’s desire.

“If I could be there first one to see it and witness everything, I wouldn’t have to get spoiled on the Internet for months to come if I had to wait til the Toronto show in July,” Nada said, noting that concert “spoilers” are increasingly difficult to avoid on TikTok, Twitter and other platforms.

“I just think that the way that social media has kind of blown up and the way that content is consumed nowadays, if you’re not looking for it, it’s going to be fed to you.”

Social media, especially TikTok, is changing the way we consume live concerts — and your favourite artists know it.

From Beyoncé to Taylor Swift, to Dua Lipa and BTS, pop stars are approaching their concerts with social media audiences in mind, engaging fans who aren’t there in person but who are intently watching concert footage from their phones.

Concertgoers ‘the least of their concerns’

A blond woman in a sparkly gold and blue leotard puts her hand on her hip, the other hand holding a microphone.
Swift performs onstage during her Eras tour in Arlington, Texas, on March 31. Thanks to its self-referential nature, the tour has become something of a social media phenomenon itself. (Suzanne Cordeiro/Getty Images)

Some people might notice that their social media feeds — regardless of your affinity for artists like Beyonce or Swift — have become inundated with footage, photos and commentary about their concerts.

“We’re kidding ourselves if we don’t think that these artists take advantage of these three-hour opportunities to sort of do a brand offensive,” said Sydney Urbanek, a culture critic in Toronto who writes the pop star-centric newsletter Mononym Mythology.

“I think at this point in 2023, stars are very aware that when they go out on stage, the people there right in the room with them are in some ways the least of their concerns,” she added. “There’s much more of a live feed into other people’s phones and homes than there previously was.”

Taylor Swift embarked on her Eras tour in March, a concert concept designed to revisit her entire discography as well as her past public personas (red lipstick, side swept bangs and a guitar, anyone?). Thanks to its self-referential nature, the tour has become something of a social media phenomenon itself.

Swift’s infamously dedicated fan base has been razor-focused on finding “Easter eggs” that the singer seems to be leaving during each show, sometimes by wearing t-shirts that hint at upcoming album releases, or pairing thematically related songs together during her surprise two-song acoustic set, which features different tracks in each city.

“It’s definitely [keeping] with Taylor’s affinity for, you know, having her fans play games and crack codes all the time,” Urbanek observed.

Cassie Leonhardt, a 33-year-old Taylor Swift fan from Vancouver, went to the opening night concert of the Eras tour in Glendale, Calif. She said that all of the social media activity around the tour has boosted curiosity in Swift’s performances beyond her most passionate fans.

“I think social media has definitely been a tool in garnering all this interest in promoting her music and helping to, I guess, grow the fandom,” she said.

British pop singer Dua Lipa enjoyed a similar online fascination with her tour antics last year. The singer poked fun at herself with a choreographed move — the “pencil sharpener” dance — that she was mocked for earlier in her career. Those concert moments quickly went viral; her fans ate it up.

K-pop group BTS, Spanish singer Rosalía and New Zealand pop star Lorde have used their concerts in a similar capacity.

Dua Lipa performs at the United Center on Wednesday, March 9, 2022, in Chicago.
Dua Lipa performs in Chicago on March 9, 2022. The British pop singer enjoyed a similar online fascination with her tour antics last year. (Rob Grabowski/Invision/AP)

Beyond these smaller moments, live shows have become fruitful advertising venues and opportunities for artists, according to Urbanek. During a recent show in her hometown Nashville, Swift announced that a re-recorded (a.k.a. Taylor’s) version of her 2010 album Speak Now would be released in July, but the news quickly spread to fans outside the arena.

Beyoncé fans, likewise, might be paying a lot of attention to shows outside of their own stop because they’re hoping the singer will announce a rumoured film project linked to the Renaissance album.

“Whether it’s Beyoncé, whether it’s Taylor Swift, each show generates its own two or three viral moments just simply because of how these stars images are being circulated,” Urbanek said.

“If Taylor makes a funny face on stage or does a playful bit of choreo more suggestively because she’s sort of teasing fans, she knows that you’re getting that on TikTok or on your Twitter timeline.”

The rise of the concert spoiler

A woman wearing a polka dotted suit smiles and looks into the distance.
Beyoncé performs in Cleveland, Ohio, on Nov. 4, 2016. Tens of thousands of fans descended upon the Swedish capital of Stockholm to attend the opening show of her Renaissance world tour on Wednesday. (Andrew Harnik/The Associated Press)

The ubiquity of concert footage on social media has created an odd conundrum for fans, one that most would associate with a movie or TV show: the concert spoiler.

Both Nada and Leonhardt attended the opening shows of their favourite artists’ tours partially as a way to avoid performance details — the surprise setlist, the outfit changes, the quips, the special guests and moments of vocal prowess — so that they could preserve the experience of the live show.

“I have some friends that are like this [who] said that, as soon as the Eras tour was starting, they would just do a blackout. They won’t go online anymore because of the fact that they don’t want to be spoiled,” said Leonhardt.

A smattering of people, mostly young women wearing colourful dresses and heeled boots, walk across a large bridge.
Fans make their way to Nissan Stadium ahead of Swift’s second night of performance on May 6, 2023 in Nashville, Tennessee. Fans attending the concert dressed according to their favorite Taylor Swift eras before the three hour show. (Seth Herald/Getty Images)

Artists from Madonna to John Mayer have experimented with lock boxes in recent years, forcing fans to lock their phone away in a pouch that only opens at the end of a concert.

While the intent was to limit the amount of video recording and social media usage during these shows, creating a more intimate, in-the-moment environment, it also meant that fewer details were emerging for fans outside.

And with concert tickets being more expensive than ever, as ticket resellers drive up costs with dynamic pricing and upselling — a tactic that Taylor Swift fans know, ahem, all too well — “not everyone wants to pay hundreds of dollars or thousands of dollars for tickets and then have a show spoiled all over their timeline,” said Urbanek.

Nada, having successfully outmanoeuvred the Beyoncé spoilers thanks to her trip to Stockholm, will now be following the Renaissance tour on TikTok. She might even get tickets to one of the singer’s Toronto concerts in July.

“I think being able to stay on top of of what’s happening, how things are changing, how things are evolving is only going to drive my interest more to see her,” she said.

 

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Sutherland House Experts Book Publishing Launches To Empower Quiet Experts

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Sutherland House Experts is Empowering Quiet Experts through
Compelling Nonfiction in a Changing Ideas Landscape

TORONTO, ON — Almost one year after its launch, Sutherland House Experts is reshaping the publishing industry with its innovative co-publishing model for “quiet experts.” This approach, where expert authors share both costs and profits with the publisher, is bridging the gap between expertise and public discourse. Helping to drive this transformation is Neil Seeman, a renowned author, educator, and entrepreneur.

“The book publishing world is evolving rapidly,” publisher Neil Seeman explains. “There’s a growing hunger for expert voices in public dialogue, but traditional channels often fall short. Sutherland House Experts provides a platform for ‘quiet experts’ to share their knowledge with the broader book-reading audience.”

The company’s roster boasts respected thought leaders whose books are already gaining major traction:

• V. Kumar Murty, a world-renowned mathematician, and past Fields Institute director, just published “The Science of Human Possibilities” under the new press. The book has been declared a 2024 “must-read” by The Next Big Ideas Club and is receiving widespread media attention across North America.

• Eldon Sprickerhoff, co-founder of cybersecurity firm eSentire, is seeing strong pre-orders for his upcoming book, “Committed: Startup Survival Tips and Uncommon Sense for First-Time Tech Founders.”

• Dr. Tony Sanfilippo, a respected cardiologist and professor of medicine at Queen’s University, is generating significant media interest with his forthcoming book, “The Doctors We Need: Imagining a New Path for Physician Recruitment, Training, and Support.”

Seeman, whose recent and acclaimed book, “Accelerated Minds,” explores the entrepreneurial mindset, brings a unique perspective to publishing. His experience as a Senior Fellow at the University of Toronto’s Institute of Health Policy, Management and Evaluation, and academic affiliations with The Fields Institute and Massey College, give him deep insight into the challenges faced by people he calls “quiet experts.”

“Our goal is to empower quiet, expert authors to become entrepreneurs of actionable ideas the world needs to hear,” Seeman states. “We are blending scholarly insight with market savvy to create accessible, impactful narratives for a global readership. Quiet experts are people with decades of experience in one or more fields who seek to translate their insights into compelling non-fiction for the world,” says Seeman.

This fall, Seeman is taking his insights to the classroom. He will teach the new course, “The Writer as Entrepreneur,” at the University of Toronto, offering aspiring authors practical tools to navigate the evolving book publishing landscape. To enroll in this new weekly night course starting Tuesday, October 1st, visit:
https://learn.utoronto.ca/programs-courses/courses/4121-writer-entrepreneur

“The entrepreneurial ideas industry is changing rapidly,” Seeman notes. “Authors need new skills to thrive in this dynamic environment. My course and our publishing model provide those tools.”

About Neil Seeman:
Neil Seeman is co-founder and publisher of Sutherland House Experts, an author, educator, entrepreneur, and mental health advocate. He holds appointments at the University of Toronto, The Fields Institute, and Massey College. His work spans entrepreneurship, public health, and innovative publishing models.

Follow Neil Seeman:
https://www.neilseeman.com/
https://www.linkedin.com/in/seeman/

Follow Sutherland House Experts:

https://sutherlandhouseexperts.com/
https://www.instagram.com/sutherlandhouseexperts/

Media Inquiries:
Sasha Stoltz | Sasha@sashastoltzpublicity.com | 416.579.4804
https://www.sashastoltzpublicity.com

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What to stream this weekend: ‘Civil War,’ Snow Patrol, ‘How to Die Alone,’ ‘Tulsa King’ and ‘Uglies’

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Hallmark launching a streaming service with two new original series, and Bill Skarsgård out for revenge in “Boy Kills World” are some of the new television, films, music and games headed to a device near you.

Also among the streaming offerings worth your time as selected by The Associated Press’ entertainment journalists: Alex Garland’s “Civil War” starring Kirsten Dunst, Natasha Rothwell’s heartfelt comedy for Hulu called “How to Die Alone” and Sylvester Stallone’s second season of “Tulsa King” debuts.

NEW MOVIES TO STREAM SEPT. 9-15

Alex Garland’s “Civil War” is finally making its debut on MAX on Friday. The film stars Kirsten Dunst as a veteran photojournalist covering a violent war that’s divided America; She reluctantly allows an aspiring photographer, played by Cailee Spaeny, to tag along as she, an editor (Stephen McKinley Henderson) and a reporter (Wagner Moura) make the dangerous journey to Washington, D.C., to interview the president (Nick Offerman), a blustery, rising despot who has given himself a third term, taken to attacking his citizens and shut himself off from the press. In my review, I called it a bellowing and haunting experience; Smart and thought-provoking with great performances. It’s well worth a watch.

— Joey King stars in Netflix’s adaptation of Scott Westerfeld’s “Uglies,” about a future society in which everyone is required to have beautifying cosmetic surgery at age 16. Streaming on Friday, McG directed the film, in which King’s character inadvertently finds herself in the midst of an uprising against the status quo. “Outer Banks” star Chase Stokes plays King’s best friend.

— Bill Skarsgård is out for revenge against the woman (Famke Janssen) who killed his family in “Boy Kills World,” coming to Hulu on Friday. Moritz Mohr directed the ultra-violent film, of which Variety critic Owen Gleiberman wrote: “It’s a depraved vision, yet I got caught up in its kick-ass revenge-horror pizzazz, its disreputable commitment to what it was doing.”

AP Film Writer Lindsey Bahr

NEW MUSIC TO STREAM SEPT. 9-15

— The year was 2006. Snow Patrol, the Northern Irish-Scottish alternative rock band, released an album, “Eyes Open,” producing the biggest hit of their career: “Chasing Cars.” A lot has happened in the time since — three, soon to be four quality full-length albums, to be exact. On Friday, the band will release “The Forest Is the Path,” their first new album in seven years. Anthemic pop-rock is the name of the game across songs of love and loss, like “All,”“The Beginning” and “This Is the Sound Of Your Voice.”

— For fans of raucous guitar music, Jordan Peele’s 2022 sci-fi thriller, “NOPE,” provided a surprising, if tiny, thrill. One of the leads, Emerald “Em” Haywood portrayed by Keke Palmer, rocks a Jesus Lizard shirt. (Also featured through the film: Rage Against the Machine, Wipers, Mr Bungle, Butthole Surfers and Earth band shirts.) The Austin noise rock band are a less than obvious pick, having been signed to the legendary Touch and Go Records and having stopped releasing new albums in 1998. That changes on Friday the 13th, when “Rack” arrives. And for those curious: The Jesus Lizard’s intensity never went away.

AP Music Writer Maria Sherman

NEW SHOWS TO STREAM SEPT. 9-15

— Hallmark launched a streaming service called Hallmark+ on Tuesday with two new original series, the scripted drama “The Chicken Sisters” and unscripted series “Celebrations with Lacey Chabert.” If you’re a Hallmark holiday movies fan, you know Chabert. She’s starred in more than 30 of their films and many are holiday themed. Off camera, Chabert has a passion for throwing parties and entertaining. In “Celebrations,” deserving people are surprised with a bash in their honor — planned with Chabert’s help. “The Chicken Sisters” stars Schuyler Fisk, Wendie Malick and Lea Thompson in a show about employees at rival chicken restaurants in a small town. The eight-episode series is based on a novel of the same name.

Natasha Rothwell of “Insecure” and “The White Lotus” fame created and stars in a new heartfelt comedy for Hulu called “How to Die Alone.” She plays Mel, a broke, go-along-to-get-along, single, airport employee who, after a near-death experience, makes the conscious decision to take risks and pursue her dreams. Rothwell has been working on the series for the past eight years and described it to The AP as “the most vulnerable piece of art I’ve ever put into the world.” Like Mel, Rothwell had to learn to bet on herself to make the show she wanted to make. “In the Venn diagram of me and Mel, there’s significant overlap,” said Rothwell. It premieres Friday on Hulu.

— Shailene Woodley, DeWanda Wise and Betty Gilpin star in a new drama for Starz called “Three Women,” about entrepreneur Sloane, homemaker Lina and student Maggie who are each stepping into their power and making life-changing decisions. They’re interviewed by a writer named Gia (Woodley.) The series is based on a 2019 best-selling book of the same name by Lisa Taddeo. “Three Women” premieres Friday on Starz.

— Sylvester Stallone’s second season of “Tulsa King” debuts Sunday on Paramount+. Stallone plays Dwight Manfredi, a mafia boss who was recently released from prison after serving 25 years. He’s sent to Tulsa to set up a new crime syndicate. The series is created by Taylor Sheridan of “Yellowstone” fame.

Alicia Rancilio

NEW VIDEO GAMES TO PLAY

— One thing about the title of Focus Entertainment’s Warhammer 40,000: Space Marine 2 — you know exactly what you’re in for. You are Demetrian Titus, a genetically enhanced brute sent into battle against the Tyranids, an insectoid species with an insatiable craving for human flesh. You have a rocket-powered suit of armor and an arsenal of ridiculous weapons like the “Chainsword,” the “Thunderhammer” and the “Melta Rifle,” so what could go wrong? Besides the squishy single-player mode, there are cooperative missions and six-vs.-six free-for-alls. You can suit up now on PlayStation 5, Xbox X/S or PC.

— Likewise, Wild Bastards isn’t exactly the kind of title that’s going to attract fans of, say, Animal Crossing. It’s another sci-fi shooter, but the protagonists are a gang of 13 varmints — aliens and androids included — who are on the run from the law. Each outlaw has a distinctive set of weapons and special powers: Sarge, for example, is a robot with horse genes, while Billy the Squid is … well, you get the idea. Australian studio Blue Manchu developed the 2019 cult hit Void Bastards, and this Wild-West-in-space spinoff has the same snarky humor and vibrant, neon-drenched cartoon look. Saddle up on PlayStation 5, Xbox X/S, Nintendo Switch or PC.

Lou Kesten

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Trump could cash out his DJT stock within weeks. Here’s what happens if he sells

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Former President Donald Trump is on the brink of a significant financial decision that could have far-reaching implications for both his personal wealth and the future of his fledgling social media company, Trump Media & Technology Group (TMTG). As the lockup period on his shares in TMTG, which owns Truth Social, nears its end, Trump could soon be free to sell his substantial stake in the company. However, the potential payday, which makes up a large portion of his net worth, comes with considerable risks for Trump and his supporters.

Trump’s stake in TMTG comprises nearly 59% of the company, amounting to 114,750,000 shares. As of now, this holding is valued at approximately $2.6 billion. These shares are currently under a lockup agreement, a common feature of initial public offerings (IPOs), designed to prevent company insiders from immediately selling their shares and potentially destabilizing the stock. The lockup, which began after TMTG’s merger with a special purpose acquisition company (SPAC), is set to expire on September 25, though it could end earlier if certain conditions are met.

Should Trump decide to sell his shares after the lockup expires, the market could respond in unpredictable ways. The sale of a substantial number of shares by a major stakeholder like Trump could flood the market, potentially driving down the stock price. Daniel Bradley, a finance professor at the University of South Florida, suggests that the market might react negatively to such a large sale, particularly if there aren’t enough buyers to absorb the supply. This could lead to a sharp decline in the stock’s value, impacting both Trump’s personal wealth and the company’s market standing.

Moreover, Trump’s involvement in Truth Social has been a key driver of investor interest. The platform, marketed as a free speech alternative to mainstream social media, has attracted a loyal user base largely due to Trump’s presence. If Trump were to sell his stake, it might signal a lack of confidence in the company, potentially shaking investor confidence and further depressing the stock price.

Trump’s decision is also influenced by his ongoing legal battles, which have already cost him over $100 million in legal fees. Selling his shares could provide a significant financial boost, helping him cover these mounting expenses. However, this move could also have political ramifications, especially as he continues his bid for the Republican nomination in the 2024 presidential race.

Trump Media’s success is closely tied to Trump’s political fortunes. The company’s stock has shown volatility in response to developments in the presidential race, with Trump’s chances of winning having a direct impact on the stock’s value. If Trump sells his stake, it could be interpreted as a lack of confidence in his own political future, potentially undermining both his campaign and the company’s prospects.

Truth Social, the flagship product of TMTG, has faced challenges in generating traffic and advertising revenue, especially compared to established social media giants like X (formerly Twitter) and Facebook. Despite this, the company’s valuation has remained high, fueled by investor speculation on Trump’s political future. If Trump remains in the race and manages to secure the presidency, the value of his shares could increase. Conversely, any missteps on the campaign trail could have the opposite effect, further destabilizing the stock.

As the lockup period comes to an end, Trump faces a critical decision that could shape the future of both his personal finances and Truth Social. Whether he chooses to hold onto his shares or cash out, the outcome will likely have significant consequences for the company, its investors, and Trump’s political aspirations.

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