DNVB / Medios de comunicación / Comercio electrónico: (1) Justin Timberlake es uno de los músicos con más talento del planeta y quiere seguir actuando hasta bien entrados los 40. (2) La industria musical sigue evolucionando y solo los artistas más avispados están sorteando adecuadamente las limitaciones económicas del streaming.
Considere estas dos valoraciones a la hora de enmarcar lo que es Man of The Woods.
Timberlake es un hábil hombre de negocios. Por eso, cuando se publicaron las imágenes iniciales de su álbum Man of The Woods, era fácil bromear un poco sobre lo descarada que parecía la promoción del merchandising. La ironía de mi tuit anterior era que la evolución de Timberlake es incuestionable. También es capaz de jugar un juego más largo que la mayoría de los demás artistas debido a sus anteriores éxitos desmesurados.
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Timberlake y Bruno Mars tienen habilidades idénticas. Uno descubrió cómo evolucionar y el otro hace anuncios nativos para Filson.
He aquí el arco de la carrera de Timberlake en pocas palabras. El Sr. Biel ha sido ese éxito raro y constante a lo largo de tres décadas de música cambiante, su extravagante moda pop y unas decisiones de cuidado del cabello casi siempre deficientes. Ha atravesado el imposible terreno de la evolución musical estadounidense:
- Miembro del Club Mickey Mouse (de 12 a 15 años)
- N'SYNC plomo (Edades 15-22)
- Estrella del pop con toques de hip hop (22-33 años)
- Artista de R&B aprobado por Jay-Z (Edades 33-36)
- El comienzo de su última etapa (37 años)
To better understand Timberlake’s newfound interest in American heritage brands, consider that he is proudly from Tennessee and he was always inspired by the music of the region.
Consider these two quotes from Refinery29‘s Album Review:
There was much debate about how Mumford & Sons/O Brother Where Art Thou? this album would get after Timberlake debuted its teaser trailer, but when the first two singles (“Filthy” and “Supplies”) were the straight-ahead dance pop we expected, it was assumed that Timberlake didn’t go full Montana — or even Tennessee. But there are strong country moments here, daringly on songs not involving Stapleton, who plays guitar on multiple songs.
and…
The key to understanding why this feels like cultural tourism may come in Timberlake’s interview with Zane Lowe for Beats 1. He told Lowe that all of his records before were “aspiration,” either to a lifestyle or for him to “pay homage to my influences.” When you dabble in country or Americana but don’t have influences in mind to pay homage to, things are going to get weird.
When I was an elementary school kid in Houston, I lived down the street from a music hall owned by Kris Kristofferson, a place where he’d perform with musicians like Shel Silverstein. I also had the opportunity to watch several of Kristofferson’s colleagues in their later years: Merle, Waylon, and so on. It’s squarely here that Timberlake is drawing aspiration for the next decade of his career with the help of Chris Stapleton, wool, and a beard.
Few can take issue with his staying power. And staying power means that you have to be willing to adapt to remain at the forefront of your craft. Timberlake is the master of this. So now that we’ve established the musician’s newfound musical aspiration, let’s look at the merchandising deals that were organized by Bravado, Universal Music Group’s merchandising arm.
(1) The Super Bowl / Nike / SNKRS deal explained.
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