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Despacito and the Year Latin Music Stopped Asking Permission
For most of the twenty-first century, the global music industry has been a market that converts other languages into English.…
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Bad Bunny and the Strategy of Refusing to Sing in English
Between 2020 and 2024, the most-streamed artist on Spotify three years running was not Drake, not Taylor Swift and not…
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Taylor Swift, the Eras Tour and the Economic Footprint of a One-Person Cultural Industry
By 2024, Taylor Swift’s career had moved beyond the conventional vocabulary of pop stardom and into the territory of macroeconomic…
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Cocomelon: Inside the Three-Billion-Dollar Children’s Brand That Almost Nobody Has Heard Of
Cocomelon is not a household name in the way Disney or Sesame Street are. Most adults without small children would…
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Afrobeats Goes Global: How Lagos Became a Center of Gravity for Pop Music
Ten years ago, “Afrobeats” was barely recognised as a coherent category outside Lagos, London and a few American urban radio…
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K-pop on Streaming: How Korean Groups Built a Global Charts Strategy From Outside the English-Language Mainstream
K-pop’s relationship with global streaming is the result of a generation-long strategic project by Korea’s major entertainment agencies. From the…
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YouTube Shorts and the Quiet Counter-Programming of the Short-Form Era
For most of YouTube’s history, the platform’s identity rested on long-form video. The horizontal player, the recommended sidebar, the channel…
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Drake and the Architecture of the Streaming-Era Hit Machine
Few artists have understood the structural shift from album-and-radio music to algorithmic streaming as clearly as Aubrey Drake Graham. The…
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