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In the tournament of pop culturean arena increasingly obsessed with charts, data, and stat linesTaylor Swift has, by most measures, already emerged the victor. In her nearly two decades in the public eye, she has become a billionaire by engineering one of the most dependable fan bases on the planet: a legion willing to buy every vinyl variant for her latest album, The Life of a Showgirl, and generate such collective frenzy at her 149-date Eras Tour that it registered as seismic activity. Swift has become something like an institution, around whom various rituals and practices have formed, whether the exchanging of friendship bracelets or sharing easter eggs with fellow Swifties. In an age of fragmentation, Swift remains one of the last reliable captains of the monoculture within popular music. Her latest album rollout for The Life of a Showgirl makes clear how deliberately she continues to extend her reach, as she now angles toward new terrain and one of the largest mass audiences on the planet: football fans. As with the rest of her album rollouts, the effort for her 12th album has been planned meticulously. So it was not for nothing that she announced the record in August on New Heights, the podcast hosted by her fiancé, Kansas City Chiefs tight end Travis Kelce. Her appearance became the podcasts most viewed and listened-to episode by an order of magnitude, peaking at 1.3 million concurrent livestream viewers, compared with the podcasts previous record of 141,821. The crossover continued in her music video for her standout single The Fate of Ophelia, which included a series of sports-related gestures that would register only to her ever-attentive fans. She catches a football; she mimics Kelces touchdown celebration; and the numbers 13 (for her December 13 birthday) and 87 (his jersey number) glide into frame. Together they total 100: a tidy metaphor for the merging of sports and pop culture. Swift is now taking keen advantage of this convergence, plugging her own romance-led narrative into an arguably more durable mass spectacle: NFL football. Kelces domain remains one of the last functioning monocultures in Americabesides Swiftthat’s capable of reaching tens of millions of homes at once. Its an opportunity Swift has no interest in wasting. The pop star attended her first Chiefs game on September 24, 2023, right around the time her relationship with Kelce became public knowledge. Immediately after, she received attention from corners of sports media that had scarcely covered her before. The NFL itself was wise to take full advantage of the moment, briefly updating its Instagram bio to read: Taylor was here. The alliance helped score a 20% surge in sponsorships, as well as more than a 50% increase in 12- to 17-year-old girls tuning in to games. Much has been made of these gains for the NFL, but curiously, little attention has been paid to what the league has done for Swift. Entering this sphere has given her access to a new (previously Swift-averse) vertical: male, suburban, middle-American, multigenerational households that tend to organize their week around Sunday broadcasts. Her regular high-profile appearances at Chiefs games have boosted her own social media followers and Spotify music streams. Immediately after her first game appearance, Swifts Spotify monthly listeners increased by 2.25%, and she gained a 1.12% follower increase on Instagramand most significantly, a 5.37% jump on TikTok. Streaming analytics database Streams Charts tracked a 3,000% spike in Swift listenership after her New Heights appearance, with a large influx of first-time male listeners. If I’m Taylor Swift, and I want to take over the world, then how better for me to break into the 49% of the population than through sport, which is traditionally a masculine bastion, says David Rowe, professor emeritus at Western Sydney University in Australia and author of Sport, Culture, and the Media: The Unruly Trinity. As this happens, it highlights the growing overlap between sports and music, fueled by the same data-driven logic that now governs modern fandom. With music listeners adopting the analytics-driven habits of sports fans, and NFL teams embracing social-media storytelling to court younger audiences, both worlds are collapsing into a single superfandom-driven entertainment economy. That shift has primed sports fans to receive Swift differently, and her visible integration into this masculine stronghold has turned her relationship with Kelce into an opportunity to capture an audience that once dismissed her. Music borrows the sports playbook Sports and music have a large range of formal similarities that have long gone underappreciated. Each are shapers of identity, with their range of rituals; sets of language, chants, and symbols; and paraphernalia and merchandiseall of which enhance a sense of community and belonging. Something that I think the music industry has tried to adopt over time from the sports industry is the ability to rally people around fandom, because of a deep connection to it, and it being part of who they are, says Tatiana Cirisano, VP of music strategy at entertainment analysis firm MIDiA Research. “In a lot of ways, I think sports has done a better job of taking advantage of fandom than music has. Both sports and Swift, in particular, inspire a highly emotional investment that can easily be monetized. You can connect them in strategic and organized ways, as part of a total entertainment package. And by having this convergence, you help connect across the gender divide, Rowe says. Swift and Kelces relationship, he adds, is a sublime marriage in more ways than one. Swift is hardly the only pop star moving strategically into the sports arena. For years, artists have performed during the Super Bowl halftime show for free because the exposure is worth more than the check. And in 2025, Beyoncé has become a familiar presence at Formula One races, her fandom for the Grand Prix becoming all the more visible; Tems joined San Diego FC as a club partner through her company, The Leading Vibe; and high-profile musicians including Ed Sheeran, ASAP Rocky, Jay-Z, and Drake, have all taken stakes in professional teams to solidify their alliance with the sports world. For these artists, sports offers a constant visibility that the music industry rarely facilitates. Seasons are long; games recur weekly; and broadcasts, stadium screens, and league-affiliated podcasts create more touchpoints than a standard album ccle. Sports organizations also sit on vast amounts of audience data and are largely considered brand-safe, giving entertainers a controlled environment in which to expand their reach. Data makes music into sports The similarities between sports and music are only continuing to blur in the age of algorithms and datafication. While analytics were once top-down, now theyve become accessible to everyonewhich is why theyve become so central in music fandoms today. Now, thanks to real-time streaming dashboards, chart-tracking accounts, and analytics sites that update hourly, everyday listeners can see these numbers in a way that was unimaginable a decade ago. says Nicole Santero, a fan culture researcher and PhD candidate at the University of Nevada, Las Vegas. Sports betting, Cirisano says, has infiltrated pop culture, too. Now fans are betting on who they think will win the Grammys, she says. (Due to the August 30 cutoff date, Swifts latest album, released in October, is ineligible for the upcoming Grammys. At press time, Kalshi betters were 40% behind Bad Bunnys Debí Tirar Más Fotos to win album of the year.) This fairly recent fan focus on data and analytics was pioneered in the early 2010s by K-pop artists and fandom, who have increasingly inspired Western pop acts, Swift included. K-pop showed that being a fan can feel a lot like being part of a team, UNLV’s Santero says. Instead of just listening to music, fans get pulled into a whole system where their actions matter. When a group has a new album or song, it isnt just a release; its almost like game day. Fans make streaming schedules, coordinate worldwide voting pushes, and keep track of charts the way sports fans keep track of stats. Unlike sports, music once had no victor. Now, with a keener focus on metrics and statistics, a quantifiable winner emerges. Swift continually smashes records, consistently beating out her rivals. Fandom in sport and in music has always been defined by what you don’t like as well, says Rowe of Western Sydney University. “Its structured into sport. You have the enemy, the other teams. And there has always existed a similar dynamic in popular music: Beatles versus the Rolling Stones, Blur versus Oasis, East Coast versus West Coast rap, among many others. Tribalism and anti-fandom has only increased in this age. Its a rivalry Swift has always made a fine point of in her music, whether her references to Katy Perry in 2014s “Bad Blood” or Charli XCX in Life of a Showgirls “Actually Romantic.” Whats new about this moment, and which has heightened the convergence between sports and music, is a necessary cross-pollination across forms. We’re at this point where the competition for attention has reached an all-time high. And if you’re an artist, you’re no longer just competing with other artists; you’re competing with the latest show on Netflix or a sports broadcast, says Cirisano of MIDiA Research. Football fans open their minds Swifts efforts to grow her audience through her visibility within sports are coinciding with sports leagues embracing the methods by which the rest of culture is building its audienceshareable content. [The NFL] was once defined by traditional broadcasts and highlight reels, but its now transformed into a full-fledged digital entertainment machine, Santero says. Teams now treat social media platforms like their own storytelling studios. They share a ton of micd-up moments, behind-the-scenes footage, and even meme-able posts that feel designed for TikTok and Instagram. This crossover has opened the door for sports fans to meet Swift halfway, priming them to receive her differently as she moves into their territory. Alex Folck, a die-hard Denver Broncos fan and former Swift hater, admits hes changed his tune since Swifts game and New Heights appearances. I learned how weird she is, and it made me like her a lot. Her authenticity doesnt feel forced, Folck says. Swift has charmed many previously Swift-skeptical men with her bashful, self-deprecating, andwhat they interpret asauthentically unguarded demeanor during her sports-related appearances. On camera, she seems relaxed and unrehearsed. If theres one thing male sports fans want to see in their spaces, its more of me, she joked on New Heights. That attitude has persuaded several male fans to reconsider her. Writer Kasey Symons, a lecturer of communication at Deakin University in Australia, believes its a little more calculated: Swift is incredibly smart regarding her positioning and understanding her place in culture as a woman, no matter if that is pop music or sport, she says. And she is incredibly aware of her impact in sport, and will be strategic about how she uses it. That strategy is resonating with fans like Folck. I definitely had a negative opinion of her beforehand, so I think seeing her in an NFL context had a positive effect, he says. Part of his change in attitude stems from the sense that she looks like shes genuinely really into it when she attends games. His preferences are emblematic of a familiar American male demographic: indifferent to pop music and deeply invested in sports. I follow games like the news, he says. Last year, he and his friends even threw a Swift-themed Super Bowl party. Sports and music fans are now beginning to converge around Swift in ways that upend familiar gendered assumptions about each fandom. Women are joining fantasy football leagues at much higher rates, often choosing Swift-referential team names. Men, meanwhile, are placing Swift-themed bets: If the Chiefs win, rival fans must write elaborate essays about Swift and her music. Folck himself was subjected to this ritual after the Chiefs beat his team for the 16th consecutive time; he has since produced 200 pages on Swift this way. With men finally on boardbegrudgingly or notSwift is inching closer to total media ubiquity, and football fans are inching toward masculinity (Taylors version). Guys still rolling their eyes at Taylor Swift are the same dudes who can’t enjoy an appletini or an ice cream cone, Folck says. Once the performative barriers come down, there’s plenty to enjoy that used to feel off-limits.
Category:
E-Commerce
Theres a statistic thats been making the rounds for the better part of a decade that says the average person is exposed to about 10,000 ads every day. This has always sounded a tad suspect, as it amounts to an ad every six seconds of our waking day (it has since been debunked). But maybe the reason its persisted this long is because it really feels true. Our feeds are saturated with ads. The airwaves, TV broadcasts, sports sidelines, team jerseys, and our streamers are full of them. Now artificial intelligence is threatening to make that 10,000 ads a day statistic a reality. Agency Genre.ai has made AI-generated ads for IM8, Popeyes, and Qatar Airlines, as well as the viral Kalshi spot that aired during the NBA Finals. When Soras latest version dropped back in October, agency founder PJ Ace posted on X, Brands will need to make an ad every other day to stay relevant. Kill me. Meanwhile, earlier this month, Philip Ho, the founder of the appropriately named AI video production company Absurd, told the TBPN podcast that his company is getting asked for as many as 1,500 videos a month from single clients. Just set me on fire. All due respect to Ace and Ho, but the version of commercial culture theyre selling sounds like an AI-generated fever dream in which were all forced to remove our own eyeballs with rusty shrimp forks. Even legislation is starting to agree. Drowning culture in a sea of sameness isnt good for our eyeballs, nor is it a good investment for brands. If you watch the ads Aces company has produced, and compare them to McDonalds’ recent AI ad (which just got pulled off the air in Europe), or even Cokes AI holiday ads, they all have that same . . . vibe. The people and scenes all appear to be using the same filter. It feels oddly homogenous. Now take that and increase the number of ads by tenfold. Pure unfiltered nightmare fuel. If every brand is pumping out a new AI-generated ad every single day, lets consider what actual differentiation looks like. In 2026, brands should be finding new ways to utilize scarcity, anticipation, and fandom communities to that end. You could call it the less is more approach, but I prefer the STFU Brand Strategy. The STFU Brand Strategy isn’t about being quiet, it’s about being more strategic in both how and when you talk to your audience. It is the pursuit of work or experiences that are enthusiastically passed around, as opposed to having AI slop fire-hosed down people’s throats every waking moment. Award-winning ad agency Johannes Leonardo was one of the best practitioners of the STFU brand strategy this past year through its work for brands like Adidas and Oscar Mayer. Cofounder and creative chairman Leo Premutico is a firm believer in the idea that differentiation will come in the form of interesting ideas that real people share with other real people. There’s no way that volume is the answer, says Premutico. This whole idea that the more AI is generating crap that it is then itself learning from, is just going to snowball to the point where, what are we even looking at? The last thing we need is more quantity. It needs to be something else. The types of ads and content initially being produced en masse by AI are the social media video equivalent of banner ads. Performance marketing churn baiting us to click to find out more or shop now. Reports for years have pegged banner ad click-through rates at less than 1%. Now, AI-generated ads are reportedly performing much better than banner ads ever did. But this is not how brands are built. Or rather, it’s not how long-lasting brands are built. Brands with a very healthy upper funnel utilize these tools to keep the lower funnel wheels turning, but it is (or should be) purely supplemental or supportive of the primary brand work. At the very moment were seeing industry capitulation to AI as a sacrifice to the gods of efficiency (read: cost savings as AI replace humans) were seeing this steady drumbeat of audience backlash to AI advertising. Think about that: The very thing people routinely say they hate (ads!) is something they dont want despoiled. The brands and agencies that creatively heed that call will be the ones to forge the most meaningful connections with consumers. Pump down the volume First of all, this is not a revolutionary or particularly unique viewpoint. Let’s take one modern example. The entire streetwear and sneaker economy is built upon scarcity. Limited editions and surprise drops, combined with a very specific point of view, elite communication, and taste have built rabid fanbases. Brands like Supreme, Palace, and Corteiz are not churning out AI slop. View this post on Instagram London-based Corteiz is arguably the hottest streetwear brand on the planet. Its founder communicates directly with its audience on social, and its Instagram page was initially private. Its pop-ups are often one-day-only, with the location announced just hours before the event. Its ethos is reportedly real life only. Last year in New York, the brand invited fans to exchange other brands of denim for a pair of Corteiz, limited to just 250 pairs. The result of this restraint? Rabid fandom. The focus on specific moments, and using them as a flywheel of ad materialcapitalizing on user-generated content around that moment, producing additional content from itworks to reinforce a brand’s cultural relevance. Take, for example, racing giant hot dog cars in front of 100,000 people. Earlier this year, Premuticos agency created the Wienie500 for Oscar Mayer, in which they raced five of the brands famed Wienermobiles against each other at the Daytona 500. It streamed live on the Fox Sports app, getting 150 million total views; media coverage and social media attracted nearly seven billion earned impressions. Oscar Mayer saw its biggest Memorial Day sales lift in years. I think the opportunity and the way to build a brand today is figuring out how each time you do something that captures people’s imagination, attention, and participation that it’s feeding into something bigger, says Premutico. It’s feeding into that brand equity so that it’s not a one-off online thing and then disappears. Anti-slop algorithm Asking brands to STFU isnt some Luddite plea. That ship has sailed. The good ship Sloppipop is here, and its never going awayjust like all the programmatic ads that follow you around trying to sell you the shoes you already bought a goddamn week ago. Despite how much we hate those ads, the programmatic ad tech firms are still rolling in billions. Rich doesnt mean good. But it could mean better. Instead of using this technology to flood our feeds, brands should be using it to refine them. Brand strategist and consultant James Kirkham wrote in his newsletter back in October about cracks in our obedience to the algorithm, that a second age of algorithmic culture may be upon us, defined “not by blind submission, but by conscious negotiation.” Well still use the machines, but well start interrogating their taste a bit more because we want to know whos feeding the feed. He said taste is becoming the new trust. If the first age of algorithms was about eery prediction, the next will surely be about permissin, writes Kirkham. Those who build tools that help us understand rather than merely consume, and who restore agency, authorship, and flavor to our choices will own the decade ahead. This is consistent with what multiple studies and trends have been telling us: As AI threatens to turn up the volume on the number of ads we see online, more people are seeking ways to avoid the algorithm and have more unique experiences. Studies show that 81% of Gen Z wish it was easier to disconnect from devices, and 54% prefer no AI involvement in creative work. Meanwhile, 84% of ads reportedly go unnoticed or simply arent remembered. They are effectively invisible. And now TikTok is giving users some control over how much AI they see in their feeds. Ive talked to Yeti CEO Matt Reintjes about the dangers of overexposure, and how his brand’s growth strategy, while ambitious, has always favored depth over breadth. Obviously the outdoors gear brand advertises extensively, but its brand-building workthe stuff that gets people excited, like its films and involvement in sportsis very carefully and strategically built over time. Back in 2023, he distilled it down to this: Brands face multiple points in their journey where they can be deep and relevant, but at the expense of growth and expansion, or they can chase growth and they forget about the depth of connections that they had already built, said Reintjes. Over time, you erode brand value, you erode uniqueness, you erode support and passion for who you are. And so weve been really thoughtful about how we drive breadth, adding on more communities, bringing in more consumers domestically, growing the brand internationally, all while also keeping those deep and connected roots all the way back to our earliest communities. Participation value When any brand can fake content, testimonials, or “viral” moments at an infinite scale, the only real measure of true value may become actual human participation. View this post on Instagram Nike is doing it with its soccer work lately. Witness its Manor Palace community space collab with Palace in London, or the latest stop of its Toma El Juego street soccer tournament event series at Art Basel in Miami last week. But real human participation can also extend to content. Just look at State Farms Gamerhood series. Part game show, part reality show, featuring gaming creators like Kai Cenat, and its latest season has more than 27 million views. One of the best examples of this past year was how Adidas effectively became the sixth member of Oasis for the bands massive reunion tour last summer. The omnipresent merch, retail events, and even an adcreated by Johannes Leonardothat ran at the start of every show. Premutico says that creative marketers can no longer be asking themselves, “What content do I make?” but “What community do I build?” with the challenge of creating ideas worthy of consumer participation. We need to create an outcome for a brand that is bigger and better than the outcome that’s going to be guaranteed by the algorithm, says Premutico. That’s our central challenge as a creative industry.
Category:
E-Commerce
CNBC and its sister networks, including USA, Golf Channel, and E!, are spinning off from their former parent company Comcast NBCUniversal to form a new publicly traded company called Versant. As part of the new company, some of the brands in the portfolio have to rebrand to get rid of NBC’s iconic Peacock mark, CNBC included. CNBC’s new logo, which goes live December 13, might take viewers some time to get used to. CNBC’s logo evolution, 1989present. [Images: CNBC] The financial news network’s new logo was designed in house to easily match the preexisting visual assets it uses on air. The typography of the mark based is on the network’s font, Gotham, and it shows a triangle cutting into the letter N and floating just above the wordmark. That triangle, which the network calls an arrow, matches its on-air graphics package. The triangle shape has been used by CNBC since 2023. It’s shown next to stocks to indicate which companies are up in green and which are down in red, and it appears as an icon displayed next to on-air chyrons like “Earnings Report.” The colors used in the new logo match the the dark “Broadcast Blue” and light “Neon Blue” already used in the network’s primary color palette. The new logo is meant to reflect a modern, streamlined identity, CNBC says, but the initial reaction online to the new logo hasn’t exactly been positive. In one Reddit thread, complaints ranged from “generic” and “corporate-looking” to being bothered by the triangular notch at the bottom of the N and B. “The triangle represents a guillotine blade, killing the brand,” one wrote. On X, a commenter asked if it was a joke. Though the peacock is gone, CNBC is betting that by sticking to its arrow and wordmark it will be able to maintain the strength and recognition of its name brand with its audience even with a new look.
Category:
E-Commerce
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