3.1 The Cultural Industries and the Aesthetic Economy

The concept of aesthetic value as cultural capital has shifted how artists are viewed in the cultural industries. Artists are now seen as economic actors who create value through emotion, atmosphere, and symbolism in their work. Hesmondhalgh (2018, p. 7) notes that cultural industries are unique because they produce goods and symbols that shape our worldview. G-Dragon, a leading figure in global K-pop, shows how cultural production extends beyond music into identity, consumption, and branding.

A good example is the Bang Bong, BigBang’s crown-shaped light stick designed by G-Dragon. As K-pop’s first custom light stick, it transformed concerts from passive events into active displays of fandom. The Bang Bong replaced earlier fan symbols like H.O.T’s white balloon, turning concert merchandise into a cultural artifact that links artists and fans. Its significance also added economic value, with official versions selling for USD 35–60 and rare ones fetching even higher prices. These examples show that aesthetics are central to how cultural industries create economic value, not just decorative.

Joanne EntwisJoanne Entwistle (2002, p. 321) highlights this change in her discussion of the aesthetic economy, saying that aesthetics are not just added to a product after it is designed — they are the product itself. In her study of the fashion modeling industry, Entwistle points out the uneven distribution of symbolic and economic capital: high-fashion editorial work brings prestige but little money, while commercial work brings income but less symbolic value. This pattern is similar to the strategies of K-pop idols and solo artists, who balance artistic credibility through experimental work with brand partnerships and endorsements for financial stability. For example, G-Dragon keeps his artistic image through PeaceMinusOne’s creative designs while using collaborations with Nike, Chanel, and other global brands to grow his market value.ey’s (2001, pp. 226–227) economic approach to aesthetics offers further insight into this hybrid value production. Rather than measuring aesthetic value by popularity or foot traffic, Frey proposes that willingness to pay — driven by appreciation, prestige, and emotional attachment — is a more accurate indicator. This framework aligns with G-Dragon’s ongoing partnership with Nike, which began with the Air Force 1 “Para-Noise” in 2019 and extended through multiple iterations including Para-Noise 2.0, Kwondo 1, and Para-Noise 3.0. These sneakers do not merely serve functional purposes — they act as symbols of intimacy with the artist, elevating the wearer’s status within the fandom and broader cultural scenes. Even non-buyers participate symbolically, taking pride in the global recognition G-Dragon commands as one of the few Asian artists with sustained collaborations at Nike’s scale.

Pine and Gilmore (2011), in The Experience Economy, assert that “drama is central to the whole structure of performance,” and that strategy itself becomes drama. In this light, the collaboration between G-Dragon, PeaceMinusOne, and Nike functions as a staged cultural performance where the product — be it a shoe or jacket — embodies not only visual appeal but emotional affect and community value. Fans consume these products not simply as fashion, but as a way to engage more intimately with G-Dragon’s artistry. Brands, in turn, access highly engaged audiences who are known for their intense willingness to pay and emotional loyalty. This interplay dramatizes how cultural industries embed atmosphere, affect, and identity into commodity form, reinforcing the centrality of aesthetics in contemporary economic value creation.

3.2 Symbolic and Emotional Value in Cultural Consumption

Consumer culture publicity suggests that we all have room for self-improvement and self-expression whatever our age or class origins (Featherstone, 2007, Consumer Culture section). In K-pop fandom, cultural consumption manifests in two ways: 1) buying and using the same brands and products as the idol, or 2) buying and using the idol-owned or affiliated brands and products. Fans genuinely do both, but the second reality offers a stronger sense of self-expression for the fanbase. It is legitimate that one fan may increase their confidence by using items they purchased from their favorite idol-owned brand. First, to buy the product, fans need to queue and often clash with other fans across the globe in online waiting rooms. Beyond that, there are also individuals who run “personal shopper” or reselling services — a business model where someone purchases products in large quantities, and if successful, they sell them with an additional fee on top of the retail price. Second, not all global fans are given equal access to purchase these products, as some regions are excluded from official sales. Fans with larger capital may even fly to the country where the product is released, and still must queue alongside local fans. Third, after acquiring these products — given the significant effort required — fans do not only feel pride, but also earn respect from other fans for successfully obtaining them. This generates a sense of value and confidence, as they align themselves with the vision and mission of the artist whose brand they support. The monetary price itself is outweighed by the symbolic and emotional value of the idol-owned products. Here lies the notion that consumers buy symbols and emotions, not merely objects. It is not only about prestige but also about identity and emotional attachment to the artist.

The willingness-to-pay described by Frey can also be observed here, particularly through the intensity with which the cultural object is enjoyed (Frey, 2001, p. 227). This intensity is seen in the scarcity and demand created by the cultural object and its consumption. What is interesting about PeaceMinusOne by G-Dragon is that not all countries have online access to purchase, in addition to the brand partnerships where the base price is not affordable for all groups, combined with the limited quantity of each release that creates the aura of exclusivity. We are in an era where an artist not only has use value in the music industry, but also in other industries, becoming a signifier for their fandom — something they can wear or carry everywhere. Unlike playlists, which are not visible to everyone, tangible products can signal fan identity to the public. For example, fashion style or skincare items, even when the idol-owned brand products are extremely scarce, fans will still search for them. This affirms what Baudrillard stated: “We are at the point where consumption is laying hold of the whole of life, where all activities are sequenced in the same combinatorial mode, where the course of satisfaction is outlined in advance, hour by hour, where the ‘environment’ is total — fully air-conditioned, organized, culturalized.” (Baudrillard and Author, 2016, The Drugstore section). This complements Frey’s concept of willingness-to-pay: the intensity created by all activities sequenced in the combinatorial mode of fandom — listening to music, sharing it on social media, covering their idol’s art, and purchasing idol-owned products. Market price is no longer the limit, especially with increasingly accessible payment mechanisms and purchasing methods.

In K-pop fandom, self-improvement and self-expression, along with willingness-to-pay, come together so that products like G-Dragon’s PeaceMinusOne and its Nike partnership become a link between personal experience and social identity. As a result, cultural consumption keeps growing across music, artists, merchandise, brand partnerships, and the wider business world.

3.3 The Artist as Brand: Aesthetic Micro-Capitalism

G-Dragon operates not only as a musician but also as a brand ecosystem that embodies both cultural meaning and economic value. His label, PeaceMinusOne, functions as a tangible extension of his identity, translating his personal narrative into an aesthetic vision. This branding is not accidental; it is meticulously crafted and strategically embedded into visual symbols, limited editions, and layered meanings. According to Kotler, consumer behavior is shaped by cultural, social, personal, and psychological factors. In the case of PeaceMinusOne, both the artist and his fans engage in a reciprocal relationship: G-Dragon produces identity-laden products, while fans consume them not only as goods, but as markers of belonging. When Nike — an emblem of global streetwear culture — partners with G-Dragon, who represents K-pop’s avant-garde, the result is a synergistic collision of two identity-driven universes: street culture and idol fandom.

PeaceMinusOne is more than a fashion label — it is an aesthetic philosophy. In the 2019 promotional video for the Air Force 1 Para-Noise, G-Dragon described the collection as a reflection of a cycle of influence, where art, music, and fashion interact to produce personal and collective meaning. The cracked black surface of the sneakers hides colorful drawings underneath, symbolizing creativity blooming under pressure. The daisy motif, missing one petal, and the altered peace symbol — first seen on the Coup d’Etat album cover — further encode G-Dragon’s identity into symbolic form. These are not arbitrary visuals; they are carefully constructed signs that blur the lines between utopia and reality, hope and imperfection. Fans who wear these products are not simply consumers; they are participants in a visual language that tells G-Dragon’s story.

PeaceMinusOne is more than a fashion label — it is an aesthetic philosophy. In the 2019 promotional video for the Air Force 1 Para-Noise, G-Dragon described the collection as a reflection of a cycle of influence, where art, music, and fashion interact to produce personal and collective meaning. The cracked black surface of the sneakers hides colorful drawings underneath, symbolizing creativity blooming under pressure. The daisy motif, missing one petal, and the altered peace symbol — first seen on the Coup d’Etat album cover — further encode G-Dragon’s identity into symbolic form. These are not arbitrary visuals; they are carefully constructed signs that blur the lines between utopia and reality, hope and imperfection. Fans who wear these products are not simply consumers; they are participants in a visual language that tells G-Dragon’s story.

This strategy forms a micro-economy rooted in exclusivity, scarcity, and emotional attachment. In her analysis of the fashion modeling industry, Entwistle (2002) poses a critical question: “How is something so seemingly subjective and ‘cultural’ as physical appearance or ‘beauty’ commodified?” She explains that fashion models exhibit “the look” to be transformed into commercial value. Likewise, G-Dragon’s fans function as extension models for his brand. By wearing Para-Noise or Kwondo sneakers and showcasing them in social media or daily life, they perform G-Dragon’s visual narrative in public. The act of wearing becomes both a performance of fandom and a mechanism that reinforces scarcity. This circular flow of value — artist to fan to public visibility — produces symbolic prestige and deepens fans’ emotional investment.

The partnership between PeaceMinusOne and Nike shows how cultural myths work in consumer economies. The value of G-Dragon’s sneakers comes not just from their design or rarity, but also from their resale life. For example, the first Air Force 1 Para-Noise resold for $400–$700, and the Korea-only version reached $2,000–$4,000. This is where emotional branding meets speculative capitalism. Holt (2004) says that when brands are filled with “supercharged emotion,” they form bonds that go beyond simple transactions. Here, owning the sneakers means pride, belonging, and cultural capital. Fans are not just buyers; they help create the brand’s story.

In this model, G-Dragon shows what aesthetic micro-capitalism looks like in real life: the artist becomes the center of a system that mixes cultural, symbolic, and economic value. His brand is more than just a business; it is a stage for cultural expression, emotional connection, and sharing identity. PeaceMinusOne is not only a successful fashion label but also an example of how modern artists can act as aesthetic entrepreneurs, shaping the market through symbolism, scarcity, and strong emotional ties.

3.4 Participatory Culture and Fan-based Economy

Before an individual identifies as a fan, they are often first exposed to G-Dragon’s musical vision — either through his solo work or as a member of BigBang. This exposure can occur through music videos, live performances, or variety shows. Whether they consider themselves fans or not, audiences are often influenced by his fashion choices. Many individuals begin to follow or adopt the styles worn or endorsed by him. This journey reflects a dynamic transformation: from passive listener, to engaged fan, and ultimately to economic patron.

Platforms such as YouTube and Spotify, along with social media apps like Instagram and TikTok, further reinforce this exposure. Through algorithmic amplification, these platforms increase visibility of G-Dragon’s content once users engage with similar music or style. On the other hand, G-Dragon’s influence in fashion — via brands like Chanel, Vogue, and Jacob & Co. — also attracts non-fans, introducing them to his artistic identity. This layered journey illustrates a complex pattern of consumer behavior rooted in discovery, emotional investment, and belief in G-Dragon as an artist, and by extension, in PeaceMinusOne as the materialization of his aesthetic vision.

As Kotler explains in Principles of Marketing, “the need can be triggered by internal stimuli when one of the person’s normal needs rises to a level high enough to become a drive. A need can also be triggered by external stimuli.” The habit of listening to his music, followed by learning about his style and philosophy, can create emotional attachment. This emotional connection influences consumer behavior: fans are driven to purchase items the artist owns or is affiliated with. PeaceMinusOne’s collaborations with Nike — such as the Para-Noise and Kwondo collections — add complexity to this pattern, as their scarcity and exclusivity trigger FOMO (Fear of Missing Out). This emotional attachment, coupled with limited supply, increases the willingness-to-pay, both in the primary and secondary markets.

Given the large number of fans willing to pay premium prices to own the same items, emotion becomes a form of capital in the music and artist-branding industries. As Jenkins notes — quoting Umberto Eco — “…in order to transform a work into a cult object, one must be able to break, dislocate, unhinge it so that one can remember only parts of it, irrespective of their original relationship with the whole” (Jenkins, 2012, How Texts Become Real section). In this sense, sneakers represent just one fragment of G-Dragon’s artistic expression — one that fans around the world embrace. Fans are no longer just buyers; they are meaning-makers and identity agents. Through their lifestyle, social media presence, and community interactions, fans reproduce and amplify the value of the product, turning it into a cultural statement. The original relationship between artist and fan — musician and listener — evolves into participatory branding through acts of consumption.

The decision to purchase PeaceMinusOne x Nike products becomes a reflection of loyalty and identity. These products function as badges of honor — symbols of belonging within the fan community. As Celia Lury explains in Brands: The Logos of the Global Economy, “in all these cases, what is at issue is a particular mode of innovating (the simulation of innovation), linked to constructions of the market framed by information about the consumer” (Lury, 2004, Outside In section). Music industries must therefore diversify their business strategies by leveraging insights about fans — their preferences, spending behavior, and lifestyle choices. In this context, G-Dragon demonstrates how PeaceMinusOne operates as a mode of innovation within the fan-based economy, offering ownership that extends beyond transaction.

Fans are no longer passive economic actors who merely subscribe to streaming platforms; they now own the brands that their idols either endorse or personally create. This shift turns them into economic patrons. Such complex fandom behavior builds long-term brand value — from initial product launches to resale markets. Fans are willing to pay more than the retail price, reinforcing the brand’s cultural credibility and giving artists the leverage to initiate new business ventures and collaborations. In doing so, fans contribute not only to market demand but also to the expansion of the brand’s symbolic and economic reach.

3.5 Aesthetic Globalization and Transnational Branding

Music can be historically assumed to have undergone a process of commodification. As Hesmondhalgh notes in The Cultural Industries, Chapter 4, this process “involves the ‘even more encompassing change’ of transforming objects and services into commodities.… The importance of commodification as a concept is that it raises ethical questions about the appropriate line of demarcation between what should be bought and sold and what should not, and suggests the importance of understanding those questions in historical terms” (Hesmondhalgh, 2018, 4.2 The Cultural Industries as Commodification and Marketisation of Culture section).

What starts as pure expression turns into entertainment and then becomes a commodity, whether through radio, CDs, or digital streaming. Today, musicians are becoming entry points into fashion, branding, fandom, and investment. One way artists earn money is by working on collaborations. This brings up an ethical question: do these collaborations raise concerns, as the fan-based economy becomes a place for new business opportunities — not just for the artist, but also for their labels and management?

This shift redefines the intellectual property business. The collaboration between G-Dragon’s owned-brand PeaceMinusOne and Nike becomes a symbolic case in which aesthetic value is strategically integrated into economic valuation. In line with this transformation, Hesmondhalgh presents an important discussion on the relationship between cultural industries and textual outputs: “There are three main ways in which the relationship between cultural industries and textual outputs have tended to be discussed, which are in terms of: diversity and choice; quality; social justice — in particular whether or not the interest of the wealthy and powerful are served” (Hesmondhalgh, 2018, 4.8 Textual Change section).

As music becomes increasingly entangled with fashion and brand economies, these partnerships must be assessed not only by their aesthetic appeal or profitability, but by the questions they raise around diversity of access, quality of cultural meaning, and justice in the production-consumption cycle. These concerns provide the ethical framework that guides this journal’s inquiry. “The cultural industries are based on information and knowledge” (Hesmondhalgh, 2018, 5.4 Political and Regulatory Change: The Rise of Neo-liberalism section) — a bold statement that expands upon Kotler’s concept of customer journey. This is evident in the practical world, where G-Dragon triggers informational and affective stimuli, prompting fans to shift their patronage beyond music and into his fashion utopia. These stimuli have impacted not only South Korea but global audiences at large.

Hesmondhalgh, referencing Harvey (1989:183), highlights a major response to declining profits in advanced industrial countries — “a second major type of industrial and organisational restructuring… called ‘spatial fix’” (Hesmondhalgh, 2018). This led to the globalization of merchandise: a new form of business where artists not only produce music, but also enter the global market as brands, distributing products that have become lifestyle commodities.

Frey’s Economic Approach to Aesthetics affirms that “the economic value of an art object depends on the preferences of all individuals, not only on those who pay for it on the market. Economists have gone to great pains to identify these so-called nonuser values, in particular: option values, existence values, bequest values, prestige values, and educational values” (Frey, 2001, p. 227). From these values, we see that brands owned by musicians — or brand partnerships affiliated with them — form a nexus of aesthetics, economy, and intellectual property. This justifies their role as legitimate expansions of the creative industry.

G-Dragon’s PeaceMinusOne offers a tangible example of the economic value of art. Fans not only enjoy the music but are also presented with extended opportunities to experience his artistic vision through merchandise, particularly those resulting from brand collaborations. As PeaceMinusOne x Nike sells both story and aesthetic — first to G-Dragon fans, then to sneaker enthusiasts and broader K-pop audiences — K-pop operates as a glocal phenomenon. While K-pop gained international traction in the early 2000s and peaked globally in the 2010s, artists pushed the boundaries of conventional fashion. G-Dragon, in particular, emerged as a cultural conduit for fashion’s integration with music.

Uniquely, G-Dragon’s collaborations with Nike exemplify a music-fashion hybrid, where partnerships rely on visual culture that transcends markets. Nike provides global-scale distribution and production, while G-Dragon and PeaceMinusOne infuse these products with cultural meaning. Although the collections are not produced in mass quantities, this intentional scarcity becomes a global strategy that elevates the product’s economic value. His fashion vision becomes a fulfillment of the spatial fix Harvey and Hesmondhalgh describe.

This move from music to fashion-focused business shows a new way for musicians to earn more through lifestyle branding. While making music still brings in money, expanding into other industries is also a smart, forward-looking strategy. Frey’s idea of nonuser values supports why turning aesthetics into branded products can have lasting economic and symbolic benefits.

For fans, the value of a PeaceMinusOne x Nike sneaker is not just about owning it, but also about the status, the chance for future collections, and the story each release tells. G-Dragon’s brand partnership shows how aesthetic entrepreneurship can go beyond buying to become a cultural, emotional, and educational experience. Fans, whether they buy or just participate, help build the brand’s meaning. In the aesthetic economy, value is not just bought — it is experienced, shared, and trusted.

Resources:
Bruno S Frey, What is the Economic Approach to Aesthetic
Joanne Entwistle: The Aesthetic Economy, The Production of Value in the Field of Fashion Modelling
Philip Kotler, Principal of Marketing
David Hesmondhalgh, The Cultural Industries
Pine and Gilmore, The Experience Economy: Work in Theatre and Every Business a Stage
Adam Arvidsson, Brands: Meaning and Value in Media
Mike Featherstone, Consumer Culture and Postmodernism
Jean Baudrillard, The Consumer Society: Myths and Structures
Henry Jenkins, Textual Poachers: Television Fans and Participatory Culture
Joanne Entwistle, The Fashioned Body
Celia Lury, Brands
ALEKSANDAR ČUČKOVIĆ, Rise of Aesthetic Experience and the Process of Globalization
https://www.youtube.com/watch?v=5L04JwtimN0
https://snkrdunk.com/en/magazine/2024/08/30/snkrdunk-spotlight-peaceminusone-g-dragon/#:~:text=A%20hallmark%20of%20the%20brand,of%20its%20quality%20and%20craftsmanship

In the previous writing, Aesthetic Economy in Music: In a View of Digital Streaming Platform (Spotify, Apple Music, etc.), the writers stated why music through the digital streaming platform could be concluded as an aesthetic economy object. The writers commented that this is caused by the tendency of the digital streaming platform to act as a medium and meeting point for all demands from fans, artists, companies, governments, and investors searching for profit from the artificial scarcity of music.

Now the writers want to show the diversity of the aesthetic economy from the form of music through a deep dive into the intersection of artists as the aesthetic value contributes directly to economic value. In this framework, consumers are not merely listening or going to concerts, but they are investing in purchasing physical products with meaning, identity, and emotional affiliation. Over time, merchandise becomes a repeated interaction fostering a connection between fans and artists — clothing, accessories, or collaborative products are not simply new items for sale, but extensions of aesthetic and emotional value into tangible, marketable forms. This shows a shift from passive consumption (listening to a song through DSP) to active consumption (wearable items where fans showcase artists’ merchandise that reflects a personal connection with the artist). Fans embody the artist’s identity through curated products, whether solely products released by artists themselves such as G-Dragon of BigBang with his PeaceMinusOne (under their own label/brand), or partnerships with distinguished brands (such as Rosé of Blackpink x PUMA). Any kind of products released by artists serve as cultural markers, signaling a sense of belonging, taste, and emotional alignment with the artist’s world.

Interestingly, in ‘Why Artists are Poor’ written by Hans Abbing in chapter 3: Economic Value versus Aesthetic Value, stated: “Not only deep-pocket markets but also so-called mass markets value depends on consumers’ willingness to pay. But here willingness to pay is reflected not in higher prices but in higher sales… in both mass and deep pocket markets, the sine qua non of influence and market value is purchasing power… thus market value in deep pocket markets depends on the willingness of a small group of rich people to pay, while in mass markets it depends on the willingness of large groups of less wealthy consumers to pay…” Writers observed that artists and their merchandise serve both markets; it is not surprising that fans from various backgrounds are willing to save money and spend across a wide price range to purchase merchandise released by artists. Even in the secondary market, the price of exclusive merchandise can be said to recoup its value. Inflation does play a role, but the long-term value of the artist also has an impact.

The main point in all of this can be strengthened by the statement in the journal Economic Value versus Aesthetic Value: “In the words of Bourdieu, they produce belief. They influence aesthetic value and, if market value and aesthetic value are not independent of one another, they also indirectly influence market value.” Therefore, in aesthetic economy terms, the artist transcends being merely an art creator and becomes a symbolic brand, where every product — be it a song, a pair of shoes, or a piece of clothing — carries emotional, symbolic, and economic weight.

Brands working with artists is not a new phenomenon; examples include Beyoncé and Adidas for Ivy Park, Pharrell and Adidas, and Post Malone’s multiple collaborations with Crocs. Brand collaborations sometimes create cultural moments that fans or even outsiders can’t stop talking about. G-Dragon, in this case, represents a figure who demonstrates how Asian musicians have become global influences. The global rise of K-pop, especially in the 2010s, redefined how artists are consumed — not just musically, but also visually and commercially — most likely driven by intense fan loyalty and their strong emotional connection. PeaceMinusOne has its own visual language: daisy motifs, distressed textures, and a rebellious aesthetic — extending G-Dragon’s music persona into tangible cultural products. Among fans, G-Dragon is widely known for his one-of-a-kind attitude, making him an iconic idol respected by generations of artists. PeaceMinusOne symbolizes this merger; for example, the Nike Air Force 1 “Para-noise” became an integral part of his uniform, overtly reflecting this with a unique upper fabrication featuring a black painted overlay designed to slowly wear away over time to reveal a personal artwork created by G-Dragon. The artwork conveys a sense of optimism, inspired by the singer-songwriter’s vision of a world where youth are unified through creativity and a free exchange of ideas. For G-Dragon himself, art is an important expression of self that pushes culture forward.

Thus, writers also conclude from the same journal Economic Value versus Aesthetic Value: “In the establishment of aesthetic value, the possession of cultural capital is decisive and in the establishment of market value, it is the possession of economic capital that matters.” Writers take the position that the dynamics of the aesthetic economy show that “profit is not only derived from producing things but also from producing moods,” because fans may hesitate to buy, but the opportunity to feel close and attached to the artist does not come twice — this is evident from the surge in sales immediately after release.

This partnership shows his transformation from a musical persona into a branded identity consumed through merchandise. G-Dragon has engaged in numerous partnerships and collaborations with renowned brands through his own label PeaceMinusOne, for example with Giuseppe Zanotti, Ambush, Hiroshi Fujiwara, Nike, Red Bull, Gentle Monster, Paris Saint Germain, Jacob & Co, and many more. This kind of collaboration also reinforces the statement regarding deep-pocket markets, but more so reflects the transformation of mass markets preparing to level up into deep-pocket markets. It demonstrates a form of micro-capitalism (emphasizing the point that aesthetic value contributes directly to economic value through fans’ strong emotional connection), supported by cultural branding and identity in explaining the social impact of the collaboration. In conclusion, this writing will examine how South Korean artist G-Dragon embodies the aesthetic economy through his many collaborations, using G-Dragon PeaceMinusOne x Nike as a case study to represent the transformation of an artist into a collaborator with global brands. This writing is titled “The Aesthetic Economy Through Artists’ Partnerships with Brands: G-Dragon and PeaceMinusOne x Nike.”

Resource:
Abbing, H. (2008). Economic value versus aesthetic value: Is there any financial reward for quality? Why Are Artists Poor?, 52–77. https://doi.org/10.1017/9789048503650.004

How emotional memory shapes brand loyalty, and why strategy should begin with feeling.

I came here to write my thesis. Now I come here to work. What keeps me coming back isn’t just the coffee. It’s the feeling the place creates.

That got me thinking: why do some places (or brands) stay with us long after we leave?

While reflecting on this, I remembered a book titled Product Manager Handbook, compiled by Carl Shan.

Working closely with many Product Managers has shaped how I now see products: how they approach features, which angles they want to objectify, how development is managed, and most importantly — how they understand the market they want to serve.

One article that stuck with me was an interview with David Shein, Product Manager at Facebook, who said:

“Understand the product that you’re dealing with at a very intimate level.”

That mindset — of going beyond surface-level understanding — is what, I believe, distinguishes a good product from a branded memory.

In my experience, a good product has functional clarity and solid features. But a branded memory is something more — it’s a fusion of features, experience, emotion, and consistency that lingers long after a purchase or visit ends.

And that’s exactly what Kios Ojo Keos does for me.

This small bookstore-café in South Jakarta offers more than books or coffee. It offers a sense of return — a space that stays in your emotional memory.

The way the books are placed thoughtfully. The quiet sofas in the corner. The way it feels like a hidden library in the middle of the city.

These aren’t just design choices — they’re what I’d call designed moments that stay.

They’re not selling coffee. They’re not just selling books.

They’re selling a sense of return. And they do this intentionally:

• By becoming a haven for emerging artists
• By opening their space for affordable concerts and art workshops
• By allowing creatives to sell their merch with friendly margins
• By consistently offering good coffee and comfort without pretense
• By amplifying stories through their community and social media

All of this builds a branded emotional memory — both for the artists, and for their audience.

So, what can we take away from this?

1. Intentionally design a sense of return.

Whether through your product, your brand storytelling, or even your partnerships — build long-term recall. I once worked with a payment partner whose PIC said:

“Working with her is not only fun, but also firm and clear — which helped the integration process go smoothly.”

Even in B2B, you can design a branded memory.

2. Curate what you want to be remembered for.

As a classically trained musician, I learned to curate recital programs across four major eras. Not every piece makes the cut — you choose what highlights your range. The same goes for brands:

Be selective. Curate intentionally. Make every choice count toward a clear identity.

3. Understand your working scale.

Global vs regional. Premium vs mass market. Know your metrics — so you can benchmark your product against your team’s actual capabilities. A good product speaks, but a scalable product performs.

I hope this short reflection helps fellow creatives and brand thinkers rethink how we approach memory, emotion, and product strategy. Because in the end, people don’t just return for what you offer — they return for how you made them feel, and what they remember. This made me reflect not just as a customer, but as someone who works closely with product-market fit and emotional positioning in daily practice.

—

Carl Shan, Product Manager Handbook, compiled by Carl Shan, designed by Brittany Cheng, ProductHQ, May 2020. PDF available at ProductHQ

For critical listening assignment — Sound Ministry

For this case study, I want to highlight Dua Lipa’s live performance of Levitating at the Royal Albert Hall. The original version of Levitating is packed with synthesizers, electronic drums, and a groovy bassline, making it an iconic electro-disco track. However, Dua Lipa’s live arrangements, especially during her NPR Tiny Desk concert, introduced a fresh and organic feel that made me appreciate her voice and musical choices even more.

Musical Composition & Genre

The song is in B minor and follows a simple yet effective melodic structure based on the pentatonic scale. The chord progression revolves around the 1st, 4th, and 5th scale degrees, giving it a strong and familiar harmonic foundation. Genre-wise, Levitating blends electro-disco and nu-disco with dance-pop, pop-funk, power pop, and even hints of space rock, incorporating elements from 70s-90s pop and R&B styles. It maintains a steady 4/4 time signature, making it perfect for both dance floors and live performances.

Dua Lipa’s Vocal Characteristics

Dua Lipa’s voice has a distinctive, slightly husky tone, often described as thick and rich. Her vocal range reportedly spans from D3 to G5, positioning her as an alto. She frequently employs a mix of chest and head voice, leaning towards a conversational and almost spoken-word style in some of her deliveries. Her British accent is quite prominent, especially in certain vowel sounds like A, O, U, and E, though she occasionally adopts a more neutral or Americanized pronunciation in her performances.

Live Sound Engineering & Mixing

Given Dua Lipa’s vocal tone and range, the sound engineer’s approach likely focused on enhancing the low-to-mid frequencies to complement her voice while maintaining clarity in the mix. The mid-high frequencies were likely adjusted to give space to background elements like the string section and choir. Interestingly, her British accent feels more pronounced in this live performance, possibly due to the EQ choices emphasizing natural vocal characteristics.

Since this was a full-scale live concert, managing multiple microphones was crucial. A well-set gate would help control ambient noise, especially in a venue like the Royal Albert Hall. Live performances naturally bring fluctuations in vocal power due to adrenaline and movement, so gain structure and compression were likely carefully calibrated to ensure consistency.

Spatial Sound & Instrument Arrangement

Looking at the mix, the low-mid frequencies appear quite dominant, with strong execution in the brass, percussion, drums, and electric bass. The cymbals also have a notably warm tone, which suggests thoughtful EQ and mic placement.

Spatially, the performance takes place in an oval-shaped venue with the stage at the center, creating a unique challenge for panning decisions. The front of the mix is occupied by Dua’s vocals, while the mid-section features brass, woodwinds, backing vocals, and rhythm instruments. Strings, choir, and harp sit in the background, providing depth without overwhelming the mix.

Considering Dua’s ability to move freely around the stage, the instrument sections seem to be arranged in a way that naturally balances the sound. By referencing her other performances, like Training Season (Live from the Royal Albert Hall), we can see that the instrumentalists are positioned strategically to facilitate a seamless blend, with sections divided into treble and bass areas for a more cohesive mix.

Listening Experience & Mixing Choices

When testing the audio on different speakers and headphones (Wuling Air-EV, MacBook Air, iPad Pro, ATH-M50x, and ATH ANC300RW), the vocal intensity stood out as a focal point in the mix. Despite the prominence of the low-mid frequencies, the overall balance remained clean and clear, avoiding muddiness.

One aspect that caught my attention was the reverb treatment. The mix felt relatively dry, with only a subtle amount of reverb — probably around 10–25% — allowing for clarity while maintaining a slight sense of space. This approach helps keep the live energy intact without washing out the details.

Conclusion

Dua Lipa’s live sound team did an impressive job balancing her alto voice within a rich arrangement that leans heavily on the low-mid spectrum. Achieving clarity in such a mix is no easy task, especially in a venue as acoustically complex as the Royal Albert Hall. Rather than overpowering the vocals with excessive effects, the engineers chose to highlight her natural tone while ensuring each instrument had its place.

Overall, this performance showcases not only Dua Lipa’s vocal strengths but also the technical finesse behind a well-executed live mix. It’s a great example of how thoughtful engineering can enhance a live performance without losing its raw energy.

The intersection of artistry and business has given rise to a burgeoning creative economy, where young individuals now pursue education in creative fields such as art, music, theater, and cinematography without hesitation. The business sector, however, refines this creativity to generate revenue, transforming it into an aesthetic economy. This economic model is evident in the fashion industry, spanning from fast fashion to haute couture, and is now extending into music and video streaming platforms, digital books, and art collections. The aesthetic economy operates on demand-and-supply principles, where the scarcity of artistic commodities enhances their value. Emerging technologies like Digital Service Providers (DSPs) and Non-Fungible Tokens (NFTs) play a pivotal role in this dynamic, enabling the equitable distribution and commercialization of art. This study explores how the aesthetic economy validates the demand for art, driven by technological advancements, and how it fosters opportunities for widespread participation in this evolving economic framework. Additionally, it examines how this emerging economy can empower women, offering them new avenues for creative expression and financial independence.

This abstract serves as a precursor to the detailed work that will follow upon completion of my research: https://medium.com/@lyoo/aesthetic-economy-in-music-in-a-view-of-digital-streaming-platform-spotify-apple-music-etc-9b2e08dfd9b2

If I can bring up all the happiness I felt when I wandered alone in Singapore last year, it began with a nerve. Although, there are a lot of questions. What is the meaning of travelling alone? Are you not scared of being alone in another country? Why do you have to do solo travelling when you have many friends that can accompany you and want to go with you? Are you really want to go alone? Don’t you worry about your belongings? Doesn’t travel more fun when you are with someone? Don’t you worry about being kidnapped? Don’t you want to make memories with your friends there? And a lot of questions I cannot write.

Solo travelling was one on my bucket list. I just wondered about the experiences when you are going alone, and I want to have ‘that’ story that I can tell about wandering alone. I start planning the trip in July 2019, my initial plan is to go to Singapore for an F1 event around September 2020 because the day event is running on the same day as my birthday. Besides, I really enjoy Singapore, the cityscapes, and the vibes, and enjoying living in the fast pace environment. So I plan my itinerary, and started to look for the flights, what kind of hotels I will sleep in, any galleries and museums I will attend, and what kind of concerts I will watch and get approval from my mom. But, we know that the pandemic is rising in urgency on December 2019, and after that lockdowns everywhere. I’ve been so pessimistic because it would be really expensive if you want to go travelling because of Covid-19.

Two years later, after Singapore open their border, Indonesia also open their border, and the travelling regulations got more convenient. I bring up the idea and got permission to go, but not alone, I need to bring one of my family members. I rework my itinerary and made it for two people, but after a long argument and debate, I finally got permission to go alone, even with several conditions. I accept the terms and agreements with my mom, as long as I can go alone. It’s quite funny to remember how my family members are shocked, and how some of my cousins ask how can I get permission knowing how protective my mom is.

This writing is more like a diary and my tips and trick on doing solo travelling for women and for the first timer. I think there will be a lot of tips and tricks scattered on the internet, but I hope you can find my writings and this can be something for you to keep in mind.

First, you need to have a strong reason why solo travelling is a must to do. Besides my love of being a lone wolf, I know by travelling I learnt a lot of sides of myself. The analogy is when I’m in Jakarta, I know I can rely on my mom, like a lot. For example, she can pick me up when I had no money left or any kind of possibility that can happen. But when I go for solo travelling, I need to rely on myself, my bits of knowledge, and my guts. I need to think, act fast, and focus. It won’t happen even if I go travelling with my family. Learning a lot about your sides means you will find there is a survival mode and your instinct will help you to understand the situation, this experience will teach on how will you act when you are back at your home. Especially if you are a little bit indecisive, you will know how to react and judge what kind of responses you need to have. At the present time, you will improve your problem-solving, decisions making, stepping out of your comfort zone and lastly, knowing yourself more intimately — this is the strong reason I told my family why I must do solo travelling.

Second, you need to put your GPS on, always share your itinerary, and tell your family where you go, last but not least post your activity on social media. This step also convinces my family about my where being when I go solo travelling. They are worried, and that is natural. You don’t have to be angry with them because they forbid solo travelling, if you are angry means that you are not mature enough to go. What you need is to argue with a good reason, a good attitude and always look for solutions.

Third, try to blend with the natives, don’t look like a tourist. Don’t open a map, use your buds/pods to listen to the directions when you are walking. Learn the place before you go outside the hotel. Don’t be confused, and keep calm, because natives never go panicking. If you want to go running nearby, do the same thing. Blending also means you are joined with the environment paces.

Fourth, always be sceptical even if the situation looks secure. Even though Singapore is listed as the best country for women to do solo travelling, I am always sceptical about the environment. Remember it is not your home. Always look for other tips and tricks for solo travelling, and don’t be too loose about the situation. Understand that pickpocketing and any crime always happen. Handling your bag carefully, put your gadgets and documents there safely, and have another backup plan and money.

Fifth, never believed anyone you met on the streets except your mom’s friend. Yeap, my mom told one of her friends who live in Singapore that I’m going to solo travelling. She said that at least I know someone that can help me. And I really appreciate the help. So, if your family have friends living in the country you want to go to, it’s okay, don’t be mad. They just worried.

Sixth, always have a backup plan. Okay, so remember the first paragraph stating that I’m planning with a nerve. Yes, I plan the trip with several plans with parameters: what should I do if I am lazy to go there because it is too far from my place; if I think that the place is too far and I’m going to go at night and I need to get there by car (there would be an extra cost); if I want to go to all free-entry places; or if the place I want to go is nearby and I don’t have to worry about the transportation cost, and many. I put 3 plans on my itinerary and told my family if I’m not going with plan A I will tell you which itinerary plans I will use.

Seventh, always keep calm in any situation. You know how stressed you are if the itinerary plans don’t go your way. Keep calm, after that think. You will need your problem-solving skills to keep your head cool, and you will improve them when you are doing solo travelling. Decisions making? Absolutely, you are going to do it in every single step.

Eight, put your money in several places. I put it on my hand-carry bags, my luggage, and some cards I divide based on the balance and what kind of places I will go.

Ninth, put your travelling documents on clouds, and always remember where are your nearest embassies, remember which area your hotel is in, and put the ‘don’t disturb sign on your room.’ Yes, as a traveller we always keep the documents nearby.

Tenth, be responsible. Never do something reckless, things that you are going to regret later. Honestly, I went to several bars and clubs, I told my family about it – I’m not prohibiting it, but be mature and responsible with what you are going to do, because you are going alone. Don’t make your trip become a hell. Please, be responsible and keep your head cool.

So, we are going back to the traveling itinerary. On the first day – Friday 28th Oct, I just go to the hotel, take a sip of coffee at a nearby starbucks. I chose the Furama Riverfront hotel, around 3 KM away from Marina. The room is quite nice and clean, down the hotel you can find Seven Eleven. Even though they had CCTVs everywhere, I kept skeptical about my surroundings. At 5 p.m I went to Esplanade for a concert. Try to book the seats one month before, so you can have a good seat. The concert’s title is Capriccio; they played Stravinsky and Mozart. During the rest time, we had drinks and I picked their house collection for red wine. I really love the taste, they sold it for around 5 SGD to 10 SGD. However, outside the hall, they are having a punk theme concert for a month: Bay Beats 2022. I heard a solo singer called Iman, his band is Iman’s League, please check out on Youtube for more. His acoustic sessions are pretty lit.

The next day – 29th Oct, I went to to the Singapore Bieannale 2022: Natasha. The art exhibition taking place at the SAM @Tanjong Pagar. The place is kinda near Vivo City. Personally some of the works remind me about humans, living, beings, connections and for me it is about intimacy. I spent a lot of time on the section of Extended Asia, and one of the Korean artists showed a video about disability and menstrual (please correct me if I’m wrong, I’m still looking at the artist’s name on google). All of the experiences I had cannot be expressed by writings. It just reminds me to connect more with the life I am supposed to appreciate. Straight away I went to Vivo City to shop and look for a ‘cakwe’ on the 3rd floor close to the gondola to Sentosa Island. After that I just straight go to the hotel and went to Simply Jazz by Tin Box Group at CHIJMES.

The next day – 30th Oct. I go for a morning jog to Marina and straight back to the hotel. After that, I wandered around the city to shop. I went straight to Somerset, Orchard, Cathay, Marina and then back to the hotel. Brought a running shoes, art supplies, several Uniqlo’s outfit, Muji stationery, and a lot of stuff. Having a great brunch at TWG Cafe at Takashimaya.

Last day for my trip – 31st Oct. I woke up and had a good breakfast from Seven Eleven. I’m not going anywhere in the morning, just packing my stuff and around 10 a.m straight to the airport. Shopping around Jewel, having a lovely lunch at Subway and bringing some for my family. After checking the bag in, I went, looking for Bacha Coffee and TWG, having a crush with Bacha Croissant, the taste is so lit. At 4 p.m I had a korean language class with my teacher and after that wait for the flight.

After all the initiations, I recognize the fun of solo travelling. You don’t have to worry about the places you are going to, you don’t have to worry about everyone else, what you have to worry about is yourself. It’s kinda like a me time and intimate moment to knowing myself. When I’m back from the trip, I try to bring the good points of me from what I have learned from the trip. Lastly, I cannot agree more that I have been addicted to solo travelling.

This writing is written by Lyona Grace and mentored by Juni Prakoso and Andy Dwiki Iranda.

Introduction

The Rise of Innovation and Technology in Experiencing Music

Technology is becoming a prominent innovation in supporting human life. Almost all products that humans use right now are coming up from a never-ending innovation. The easiest way to look up is in a communication technology, well known as a smartphone. From the analog telephone in 1848, which was commonly used only as a communication tool, through the way to 1980 to mobile phones that developed into smartphones in 2001 that have become personalized devices. The innovation of smartphones is the rise of application that has exchanged the most basic value from some objects, such as notes that exchange the value of notebooks, camera becoming an alternative to professional camera (DSLRs), and then digital streaming platform exchange the value of an audio player in order to listen to the music

According to statista.com, among the most popular Google Play applications in Q1 2022, gaming took the first position with 13,63 percent use, followed by education with 10,41 percent, business with 7,1 percent, entertainment with 5,44 percent, and music and audio with 4,85 percent.CNET in their articles stated in the competition of streaming apps for music, Spotify has become the leading app followed by Apple Music. In practice, streaming platforms have exchanged the point of view of ownership for accessibility. By paying around 59,000 IDR, one person can enjoy a million music collections that are offered by the streaming platforms. This exchange in the digital streaming platform bridges the concept of aesthetic economy, in one of the focuses is an aesthetic experience, where platforms are offering the experience of enjoying the music wherever and whenever a user wants; enjoying their curated playlist, exploring any kind of genre and artist from around the world, good quality audio that has been made and matched to any gadgets, accessibility to enjoy the music without downloads or even buying the physical forms of albums, and a lot of experience that the digital streaming platforms have offered.

The experience of enjoying music through a digital streaming platform started with a business called telephone music service with a live jukebox scheme which was originally born in Pittsburgh in the 1920s, where listeners used to listen to songs through a jukebox that was connected to the main studio via a telephone network, just by inserting a coin into the machine and lifting the receiver, the user could request the song they want to listen to from the operator. This did not last long due to the development of jukebox machines that already had music collections and had been mass-produced, making this service considered more expensive and coupled with increasingly expensive licensing.

Having music physically is not something that is categorized as cheap entertainment or hobby. A person is required to have an audio player, starting from a gramophone to install vinyl and then a walkman to install CDs/cassettes. Even in that period when people enjoyed the music while driving in the car, installing an audio player became very extra because the music player was treated like an add-on, not a feature. The maintenance of these tools was the same, making experiences such as enjoying music not accessible to various groups of people, and neither artists nor record labels could market their work more. Music ownership lasted until 2000 when IoT was growing rapidly. Each house began to have a computer with an internet network. Napster in 1999 provided a feature where users could exchange data, and music became the main content shared. It ended with the consequence, that Napster was sued by the RIAA (Recording Industry Association of America) because this P2P (peer-to-peer) concept provided a great opportunity for piracy. Music lovers do not need to pay for a song to be downloaded or owned because one person has already shared the song for free on the website, resulting in musicians and record labels as the original owners not being able to take the profit (revenue) that should be obtained from the song.

Besides the development of IoT, the presence of MTV was an alternative to how people could enjoy music, although the access that users got tends to be minimal. MTV presented the experience of enjoying music through television, for example, MTV Unplugged in 1989 regularly began broadcasting, MTV Unplugged was a show where musicians perform their work acoustically and broadcast live. The presence of Apple with the iPod in the 2000s was enough to minimize the piracy that occurred in the music industry and provided convenience in enjoying and owning music. With this technology a habit arose, listeners started buying the work according to their needs through the Apple Store and put the music into the iPod. Connoisseurs of songs nowadays can not only buy works in album form but also individually, and with the spread of the iPod to all corners of the world, digital shopping for works has found its voice in its era.

The digital era brings practicality for song lovers. The existence of digital streaming is a tangible form of technological development in the field of art. From the business scheme that has been running, it has formed the idea that the aesthetic experience enjoyed by song lovers in the form of a digital streaming platform explains that the aesthetic economy in the music business world is growing rapidly, this is due to developing technology and a habit created by the convenience offered by the music industry. each digital streaming platform, in this case, is seen from the experience of listening and enjoying music.

IN A VIEW

Aesthetic Economy, Music, and DSPs

The aesthetic economy is derived from two literal objects that came from aesthetic theory and economic perspective. Thus the development of this theory is mainly applied whenever art is no longer valued as an ornamental thing but turned into an object of exchange. Musicians, artists, designers, and even photographers are exchanging the value of art or creative creation for funds. The aesthetic economy is known for having three foci in order to construct the theory: art, aesthetic property, and aesthetic experience (Levinson, 2005). Firstly, art is a concept that specifically emphasizes the form that could be seen or noticed, moreover essentially looked like a medium of expression and communication. Second, the aesthetic property is pointing to an interpretation or observation by senses, focusing on an object that could be felt directly, and an object that relevantly becomes an aesthetic value when manifest. Finally, aesthetic experience is the study of any type of experience or concept, whether it be a behavior, perception, emotion, or actions of attention, and it frequently requires a definition of thinking or mental activity as an aesthetic. Art, as one of the aesthetic forms of science, is a medium for transmitting the creator’s feelings, an expanded form of a concept that is mirrored in some way. People nowadays are attached to digital streaming platforms (DSP) that are practically displayed in any form. Spotify, Apple Music, and such are examples of DSP in the music area. This existence fulfills the needs of listeners who need music in their everyday life. Spotify charges their subscribers 49,000 to 59,000 IDR (in Indonesian currency) for a 1-month subscription in exchange for over 80 million collections of songs in their music catalog, excluding the podcasts library. This phenomenon displays that music turns into a capitalist object by the desire of people to experience art in life, in conclusion, DSP became the medium in achieving the economic goals of aesthetic economy, mainly in aesthetic experience.

Monetization in Aesthetic Economy, Digital Streaming Platform

Translating the demands of music into purposes of businesses, music becomes a product that feeds the need of the demanding users. These demanding users are coming up from many genres and niches, and with the growth of IoT, DSPs turning out to become a greenfield, not only for musicians but also for the ventures that chipping into the business. But most of the reason that monetization is one of the reasons why musicians are putting their music in DSPs. They were gaining their royalty by hours and hours of streaming from each song they uploaded to the DSPs. These royalties were collected by distributors, named CDBaby, DistroKid, and such. They help each platform on maintaining the library and also distribute the royalty to musicians. This showing that is many intertwined lines in music as a business, and DSPs are one of them.

At present, there are a lot of DSPs reaching out to the artists and listeners, flocking the market pool. DSPs themselves expand their value in many ways. In comparison, Deezer offers 1411 kbps CD-quality audio and their HiFi subscription, whereas Spotify offers over 82 million tracks and 3.6 million podcasts and Apple Music offers an ecosystem for Apple users, iCloud library, and Spatial Audio with Dolby Atmos. They also offer a variety of subscription fees, and it targeted their market pool. Spotify and Apple Music has their own prices for students, on a regular price Apple Music is cheaper by 1$ instead of Spotify, but Spotify has various price from daily to monthly subscriptions. This range of prices is determined by the welfare of each DSP.

In the needs of the library catalog, DSPs offer numerous interests and utilities. Each platform and distributors offer some benefits, not only in revenue, and potential market but also in the terms of regulations. For instance, estimated at 1000 streams, each well-known platform has its own values. Spotify as one of the well-known platforms pays its musicians less than Apple Music. One stream is counted by 30-second listen time whenever streamers play the music. These streams are counted on every song that streamers played. For example on how to reach $100, one artist should have a minimum of 27,000 streams per one song counted, and the numbers could vary for each platform. Know that each platform has its own price, and musicians have their own choices in choosing the platforms they want to put their music on. There’s various competition in the dynamics of the music business and thus clarifying the aesthetic economic component of the DSPs.

DSPs offer musicians in using their platform for billions of global audiences. Before the digital era, in order to target the listeners, musicians were going to hop in some cafes to promote their music, hardly recognized by the global market as a result of segmenting the customers only on local niches. Major streaming platforms such as Spotify and Apple Music have grown their subscribers since 2016 with the emergence of the technology. Until 2022, since it launched, Spotify has grown to over 420 Million monthly subscribers. Resulting in great demands in the businesses. Music is known for its dynamic business trends. Throughout music history, all artists and composers, technologies, genres and trends, producers, and nowadays sound engineers or even the instrument itself are cultivating themselves in order to follow the dynamics. To follow the dynamics, DSPs optimize their platform to pool the market in order. This reasoning is another opportunity in growing the listeners. Personalized playlist and handcrafting their editorial playlist. DSPs also rely on their algorithm to specify precise music to listen to. The parameters are calculated from machine learning that combines the data from users’ decisions in surfing the DSPs.

DSPs offer musicians in using their platform for promotion channels. Digital marketing nowadays has become a hot topic in businesses. Any brand and products are in the running. DSPs use momentum to communicate about their businesses. Digital environments offer a big pool of demographics, and filtering the pool has turned out to be an up-changing for DSPs. IoT and its development are growing the ecosystem of digitals and nowadays people around the world are not blind to the techs. Promoting in social media becomes a point in earning attention, by sharing and like the posting is influencing the algorithm of social media, ‘suggestions’ section becoming the pool for users to pick. Search engines like Google and then Shazam and Siri also boost the promotion of DSPs. Awareness is the key performance for digital marketing to piping the funnel. Sorting out the awareness about the DSPs itself and then to artists. Spotify ‘EQUAL’ is one example where artists in Indonesia such as Raisa, Isyana Sarasvati, and even Ramengvrl could be promoted in Madison Square Garden, NY. EQUAL stated to Forbes is a campaign dedicated to women in music and audio. This campaign started by celebrating International Women’s Month every March. The launch of the campaign is resulting in more streams and discoveries for those artists.

DSPs offer musicians a cost reduction in distributing and publishing the music. In the previous era, musicians needed a physical form of the music they were going to sell. From vinyl to compact disc and cassette, or even needing to sign a contract with the label in order to collect the money from the physical goods they’ve been selling in the stores. Online distributors and publishers such as CDBaby, TuneCore, Distro Kid, and any platform are dedicated to helping the artists. Earlier in the 2013s, musicians were required to sign with labels to distribute their music to music stores to society. Distributors allow the music to become available to listeners and collect the money from the platform to which the music is allocated. There are a lot of offers that these distributors provide: collecting money from DSPs up to movies, distributing the physical, and many more. This also shows that DSPs collect these royalties from the crowd organized by the distributors.

This phenomenon results in fair competition between the artists to fulfill the demands while the platforms expand their features and benefits in order to gain more artists. CDBaby offers two types of pricing, STANDARD, and PRO. Each pricing is differentiated in the monetization collecting. PRO pricing are including worldwide publishing royalty collection, registration with global royalty collection societies, also with Performing Rights Organizations affiliation with US & Canada. They also offer a sync license for music that has been used for soundtracks in movies or tv series. Some digital publishers and distributors also offer a cover song license to help cover artists in securing their art in the monetization of the original artists. Henceforth is the trend of independent DIY musicians. Anything that music label traditionally has been doing is copy-paste into the digital form. All of these features are paid by the musician by less than $30 and usually, it is a one-time fee or depends on the distributors that these musicians choose to pay it upfront or by subscription.

Furthermore, online distributors also provide some data for these musicians in gaining their fans by allowing them to look at any kind of demographics and parameters. These demographics and parameters are offered to musicians as a tool for analyzing and understanding their markets.

CDBaby also offers UPC Barcode as a tool to track digital and physical sales and allows CD Baby to send the data to Nielsen SoundScan and Billboard. For instance, Billboard Chart has become a standard in record charts in the US and Canada and hence these charts are collected from all sales, radio play, and online streaming, and thus the charts are becoming regional. The chart in Billboard US is different from Billboard Indonesia or Billboard Korea.

DSPs offer musicians a place to be viral and known while starting their pathway as bedroom musicians. Names like Billie Eilish and her brother Finneas O’Connell will come to mind if people talk about bedroom musicians. Before she went viral, she uploaded her song “Ocean Eyes” to SoundCloud. SoundCloud is an online audio distribution platform, music sharing website as well as a DSP and this platform is known for its eyes for indie artists just like its neighbor platform, Bandcamp. Though BandCamp is far into helping artists sell their music in digital or physical form just like iTunes’ business model, both of these platforms are major platforms for independent artists. Its business line could be a parent for nowadays DSPs and its growth might be affecting the music businesses as well. DSPs really changing the emergence of signing with a label, and now with only uploading a demo in SoundCloud, it change the way that usually in the physical era, people come to the music store in order to get the music they want to hear, but because of DSPs the musicians that come to the demands, and closing the gap of ‘the physical world’ for the music businesses. Hence the digital surprisingly surpassed the physical form.

DSPs offer musicians a platform that coaches them to reach more fans and grow their brand. In the picture below, Spotify has dedicated social media to spreading awareness about their platform to benefitting the artists. They post some quotes, tips, and information that guides artists around the world. They also develop their websites and applications, some features like Ad Studio and Marquee, and resources like videos, news, blog posts, events, and promo cards to enhance the visual assets. For example, some of the ads can be seen on Instagram where Spotify places some videos as ads on the Instagram Story features, so whenever a person swiping these algorithms are going to reach out and hopefully can acquire new users for the platform new fans for the artists.

Another example is the partnerships they offer in using all the ecosystems within Apple. As a brand that is built with an ecosystem for creative industries, they have their own DSPs, Apple Music, and with Logic Pro or GarageBand, the lite version, a digital audio ware which many musicians have been familiar with. On the other hand, they also offer analytic data to track the performance of the music. Many training videos and tutorials are designed for musicians. Names like ADSR, MusicTechHelpGuy, Ask.Audio, Why Logic Pro Rules, Groove3, Im a Music Mogul, and macProVideo are music creation software trainers acknowledged by Apple.

Apple Music for Artists

DSPs offer musicians a customer relationship. Spotify has become an official partner with the platform Merchbar in selling official teas and vinyl and any merchandise from the artists. Jumping to their websites, Merchbar is a nonchalant marketplace to buy merchandise. From shirts to accessories, from pop to country music, and any collections, and also vinyl. They also connect the fans with information about the tour, where and when the concerts are going to be held around the world. Also, fans can buy the tickets directly from the purchasing websites that are linked to Spotify.

DSPs offer stock investment on the market. Widely known as DSPs, they are not just a music player, they are a technology company based on a streaming platform business scheme. The growth of the company itself is expanding. Also, by the business shift that music lovers have into accessibility instead of ownership in using DSPs, the company itself is proudly transforming the listeners and moving the industries into more and more innovations, triggering the scale-up of business and the products themselves. For example, Spotify is known for its stock on the market (SPOT), and how Spotify acquisition the trends and investors/traders (you name it) interested in the technology by offering the technology that are been well planned not only for two to five years but more than that, this means the future prospects that have been planned by Spotify. They also need to prove that buying SPOT stocks is worth comparing to the present market value. They also need to show that their stocks are not only for those who are into the technology for music but for those who are interested in the business sold by Spotify. In the terms of technology, Spotify not only compete with Tencent (Joox) but it is competing with Google, Amazon and Apple that has their own DSPs.

Conclusion

In this digital era, people are familiar with streaming platforms, and pandemics have caused the digital streaming platform to grow so adapted to entertainment businesses. Surprisingly, streaming services for music and movies are becoming popular in the digital business world. Investors are putting money into the company, and people from all around the world are signing up for the platform. This tendency occurs in music through DSPs being a meeting point for musicians, technology, businesses, and listeners. This meeting point is where the scarcity is shown, and stating that music is a product of the aesthetic economy.

Resources

The Aesthetic Economy: The Production of Value in the field of Fashion Modeling, Joanne Entwistle

Economic Value Versus Aesthetic Value Is There Any Financial Reward for Quality, Hans Abbing

Constantly Evolving Music Business: Stay Independent vs. Sign to a Label: Artist’s Point of View

The Business Model of A Streaming Platform, Elias Carroni and Dimitri Paolini

On Gernot Bohme’s Critique of Aesthetic Capitalism with contributions by Gernot Bohme, Brigitte Biehl-Missal, Tonino Griffero, Andreas Philippopooulos-Mihalopoulos

Philosophical Aesthetics: An Overview, Jerrold Levinson

Fair Music: Transparency and Payment Flows In The Music Industry, Rethink Music and BerkleeICE

The Modern Marketing Reckoner 2020 — Indonesia, MMA

Music Streaming: Is It a Level Playing Field? Daniel Antal, Amelia Fletcher & Peter L. Ormosi

Why Streaming is a Good Thing for the Music Industry, Ailey Butler

Oxford IB Diploma Programme — Economics

Plato Stanford

Rolling Stones

Wired

CDBaby

Apple Music for Artists

Spotify for Artists

MusicGateaway.com

Bankrate

BusinessWire

Billboard

Simplybarcodes

Musicbusinessworldwide.com

“Keep moving forward — W. Disney”

IDNFT Academy 2022, May — June 2022

If you ever thinking to quit something that you always hold dear, I’ve been there occasionally and intentionally. There was a time when I thought I will be an artist, having my own tour and doing those concerts all around the world, in order to achieve my 5-year-old dreams. In reality, each step I took is kind of like going far away from what I’ve been dreaming of. At that time, quitting is the only option, and I kinda like using my eyes to look for some new direction for my own life. Some would say that I’m taking a pause, a rest. I choose to, and hopefully, some people can agree with this. But what is coming after a pause, a playback?

When it’s time to playback, music is the thing that I wanted to walk more, and whenever I pause it's coming back and returning to it. Loving it is the best thing I can do. In my overthinking phase, I kept feeling the betrayal that I did. One of my best pals and mentor said that “one day you will earn it, so just do your thing and never give up.” That’s what I’m doing right now, try everything — just like the song by Shakira. I went up to prepare my portfolio on my own website, and I try to enter, hoping at least I can make it into the coaching class and at least someone notice my art.

Joining the club

Scrolling social media is a usual thing that peoples in the 2000s do, following some account that took your interest in and hopefully can join the community to learn about the stuff. ID NFT turns out to become something that I want to learn from. Recently they open an academy, in order to grow the literacy in NFTs and Web 3.0 stuff and promote these artists on the metaverse exhibition. I took a lot of courage on it, join their Discord channel and submit my data and portfolio for their IDNFT Academy class. I think around some time after I got the invitation.

NFT Class

Feelings so good on the first day. Overwhelmed with the information to be precise, honestly in a good way. Shout out to IDNFT for providing us, it is not only about the information but all the study cases those speakers told us — it is a lot of insights. From the basic things to something niche and broad. Jump out and being hype, I just talkative about all the things that happen in the class.

Coaching Class

Entering the coaching class, become the most exciting thing in the whole event. Surely, I really am. Kak Aziz, as the music coach, is one of the leading vocal coaches in Indonesia. He ran the vocal plus on Instagram and TikTok and was one of the humblest coaches I ever met. Kak Endah, from Endah and Rhesa, one of the leading songwriters in Indonesia, also come as one of the students in ID NFT Academy. On the other hand, Kak Aziz not only thought about the concept of making the music but in order to sell and especially promote the art. Branding, making a roadmap, telling the story behind the art, there are really a lot of things that he told us, he also used some of his real-life experience as a study case. Kak Addien also being a helpful class PIC, also invited me and some music students to shill on his Twitter Space. A lot of things happen during these two months since I entered IDNFT Academy.

Not So 9–5 and Take Your Time

The exhibition is the goal of this Academy. I came up with an idea about growing up, choosing a career and such, and coping with adulting. The art is called Not So 9–5. Short story, I grew up dreaming to become a musician, but when graduated I felt like I lost my passion and I lost my fire for performing. I try to pursue another career, but still in the creative area. I really love art, photography, writing, and drawing, but still, music is something that I want to run from but I cannot. I use the words Not So 9–5 in order to show that I’m a corporate staff but I’m still working on my passions, just like what has been my motto “Be honest, don’t settle for less. I am not your typical 9–5.” In the making of Not So 9–5 I decided to combine my skills in drawing for the artwork, and the main course is composing and making the music. It will become into 5 parts: Ambitions, Bear, Cryptic, Decide, and Edge. Each of them has its own story, and mainly it is a real-life event. All of it will be minted in Dartroom by Algorand, and I will put the second version of Bear in Holaplex with lolmbrill. I decided to donate 1/4 of the royalty from first selling to an orphanage in Bekasi (Jawa Barat, Indonesia) and a Pet Shelter in Depok/Cinere, from each song. On the other hand, you can use the song whenever you want to, and in the music, you can have a little part of yourself. A dedicated music sheet for you. Only for the music that I sell on Dartroom.

Lolmbrill and our project “Take Your Time” was an NFT art combining motions and music. Away from Dieville, Boney saw someone holding a guitar while enjoying nature vibes without playing guitar on the tree. She is LYO, the guitar girl who loves to entertain people in Dieville. After Boney climbed the tree, He asked LYO, why she was there? and LYO answered… “how do we as artists take a long night to think about how we respond to art. About how we should walk with the journey. but in the end, don’t rush, relax and take your time.” Talking to him just opened some insights to me. His thoughts about art, career, and life, made me realize I’m so lucky to meet him on these occasions. A new perspective, a new opportunity. Take your time available on Holaplex.

Minting and Entering the Exhibition

Overwhelmed, panicked and such, being a first-timer in the NFTs. IMHO, I cannot say that I could pass it by being chill, I just trying my best not to be an idiot. Writing down the description becoming my favorite thing on minting. Promote all the art on social media, edit the artwork, prepare the caption, and share the work with all of my circles, hoping that everyone can experience the art and understand the view of the art.

I talk to lolmbrill about the exhibition, what are we going to do with the art if we are not accepted. I told him some of my worries, and he was just being chill and encouraged me not to be little about our art, and there would be an opportunity for it. After some minutes, I got myself back and I told to him that I will be okay with everything. There’s a word in Javanese we call “legowo” which means to be chill. An exhibition would be a great opportunity and portfolio for us, as a newbie in NFTs. At least, someone would notice our art, our vision, and such. After some days, the announcement came to discord and I check the email, and here we come, both of the artists are going to the exhibition, I got two emails recording the acceptance for the exhibition in Dartroom and Holaplex Gallery.

At the “end” of the journey in IDNFT Academy 2022

After all the things that happen these two months, I look back at all the milestones that I’ve passed. If I ever give up on my art, my music, my best guess is I only come to watch those who never give up on their art. For artists, being noticed is something that paid off our hard work in creating the art. I just realize that there would be some folks who understand my art, my vision, and what I’m putting in my music and the goal is listening to my music. Maybe it would take several times, but the main point is to not give up and keep moving forward. We need to play with the time, befriend the time, not become its enemy. No matter how hard it is, it would be paid off. How you achieve your dream is different for any person. We have our own stage, being the winner in our own competition. We defeat our bad habits. We conquer it all.

Lastly, I really want to say thank you to IDNFT, those who work behind the scenes, and the speakers. To lolmbrill, rifka, VeHa, notPA, FX, chukingcat, kak Aziz, kak Endah, kak Addien, friedghost. Also to Dartroom and Holaplex. To my co-workers in Triyakom. To my mom and my family who always support my choices. To my best friends who never give up reminding me who am I, those who always listen to my insecurities, especially to my bestie in heaven. Last but not least, especially to myself, even though she could be naive with her own positivity, she is strong enough to pass all the limitations, and her mind is strong enough to support my dreams.