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Selena Gomez and Benny Blanco aren’t done with their I Said I Love You First rollout. The recently engaged couple unveiled the deluxe version of their album on Friday (March 28) with two new tracks. Explore See latest videos, charts and news See latest videos, charts and news Among the new songs is the fan-favorite […]
On March 12, a video surfaced online that caused quite a stir. It was a new Coca-Cola ad featuring K-pop group NewJeans, also known as NJZ, which is currently at the center of much controversy. The ad quickly garnered reactions from around the world.One comment on the ad effectively captures the essence of the project: “Is this from the ’80s or 2025? Is it real or is it a dream? Is it nostalgia or a memory of something I never experienced? It’s a work that confuses all of this. It feels like it’s depicting the past, but actually, it seems like an idealized version of the present moment. Ordinary yet beautiful people, scenes that feel both real and dreamlike, all captured with ethereal music and visuals. I can’t stop replaying it, as I don’t want to let go of the dreamlike feeling it gives me.”
The campaign, with creative direction by Billboard Korea, presented a unique blend of subtle retro vibes and fresh, modern sensibility that immediately caught fans’ attention. More than just a brand advertisement, it has been recognized as a work that conveys cultural and emotional interpretation. In the conversation below, Billboard Korea explains how they created a unique sensibility connecting the 1980s with Seoul in 2025.
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How was the theme “I Feel Coke” conceptualized for the ad?
“I Feel Coke” was both the theme of a Coca-Cola Japan ad series that aired between 1987 and 1990 and the title of a song by Daisuke Inoue, which was featured in those commercials. The original ad was widely praised for capturing the spirit of Japan’s economic boom in the 1980s. In the 2025 Seoul version, we reinterpreted it as a tribute, blending nostalgia with a contemporary twist.
The new ad was inspired by the concept of Anemoia, a term that describes a sense of longing for a time or culture one has never actually experienced. We wanted to evoke the emotions tied to Coca-Cola from past eras while reimagining them in a fresh, modern way. Every detail was carefully crafted to preserve that feeling of nostalgia while making it relevant to today’s audience.
Can you explain “Anemoia” in more detail?
The term Anemoia was first introduced in 2012 by American writer John Koenig in “The Dictionary of Obscure Sorrows.” It describes the feeling of nostalgia for a time or culture one has never personally experienced. This emotion resonates strongly with Generation Z, who, amid uncertainty and anxiety, find themselves longing for the perceived prosperity and joy of past eras.
This growing fascination with revisiting and reinterpreting the past played a key role in shaping our creative direction. Our goal was to modernize nostalgia—capturing the essence of past memories while making them feel fresh and relevant today.
It’s clear that NewJeans being the models fits well. They both represent Gen Z and evoke nostalgia.
Exactly. NewJeans effortlessly blend a “longing for the past” with the “sophistication of the present.” As highlighted in Billboard Artist last October, they are not only icons of Gen Z but also a reflection of the nostalgia this generation experiences. Their unique ability to reimagine past eras with a fresh, modern twist made them the perfect match for this project and that synergy shines through in the ad.
What elements from the past were specifically referenced and which parts were reinterpreted in a new way?
One element that deeply moved us in the original ad was the happiness depicted — especially the brief moments of happiness that can be found in everyday life. We also paid close attention to authentic 1980s Japanese elements, such as the yuppie lifestyle, baseball, pay phones, leisure and health aesthetics, and more. In the 2025 Seoul version, we sought to reframe these experiences through the lens of Gen Z, while still capturing the sense of longing that was present in the original ad, reimagined with modern sensibilities.
What aspects of 2025 Seoul did you incorporate into the ad?
We aimed to capture different aspects of everyday life in 2025 Seoul, from the city’s efficient transportation system and vintage markets to social media content creation, instant photography and young adults moving into their first apartments. We also highlighted outdoor delivery meals and romantic moments on college campuses, small yet authentic elements that will resonate with people for years to come. These moments represent the happiness of today’s youth, which was at the heart of our vision for this project.
NewJeans’ rendition of “I Feel Coke” has garnered attention for its refreshing and dreamy vibe. How does it differ from the original song from the past?
ADOR and its A&R team aimed to preserve the essence of both the original song and the era it came from while capturing the signature feeling of the Coca-Cola brand. At the same time, they wanted to reinterpret it through the emotions NewJeans embodies today. The goal was to craft a track that complements NewJeans’ warm, understated, yet sophisticated vocal style.
The intro’s synthesizer melody follows the same pattern as the original, but with a fresh sound design. As the song progresses, the synthesizer and electric guitar in the second verse echo the original’s nostalgic vibe, while the outro introduces a saxophone, bridging the dreamy atmosphere of the past with a modern, refreshing touch.
How was the vocal distribution among the members decided?
ADOR carefully arranged the vocal distribution to highlight each member’s individual strengths. For the final choir section, they focused on enhancing the harmonies, ensuring that each member’s unique tone blended seamlessly while preserving the choral beauty of the original song.
Were there any special episodes during the arrangement and recording process?
During the arrangement process, the members of NewJeans gave input on the intro sound, helping refine it to perfectly complement the visuals of the ad. During recording, they focused on making the song their own while also capturing Coca-Cola’s signature sense of energy and refreshment, making the entire experience truly special.
In addition to the main ad video, there were also sub-content pieces. What were they?
Yes, we created several additional content pieces to enhance the campaign. For example, we designed illustrated posters featuring the 1980s Coca-Cola logo and imagined what Billboard Korea magazine covers might have looked like if it had existed back then.
NewJeans also shared behind-the-scenes collage videos filmed with disposable cameras and camcorders, capturing candid and intimate moments. These extra elements added emotional depth to the ad and gave fans a rare, personal glimpse into the members’ real personalities.
After the online release, there was an overwhelming public response. Can you share some memorable comments?
We got a lot of reactions, like: “It’s strange that I cried even though it’s just a commercial.” “It feels like watching an uplifting youth movie.” “The legendary collaboration between Billboard and Coca-Cola.” “I can’t stop replaying it.” “I’m only drinking Coca-Cola now.” (Fun fact: Coca-Cola sales went up on the release day and the day after.) The project manager at Coca-Cola Korea also shared that the comment “It delivers happiness in chunks” really stood out to them.
The collaboration between Billboard and Coca-Cola was also unique.
Exactly. We often take “happiness” for granted because it’s always around, and we think we understand it. But one of the simplest yet most essential ways to capture that feeling is through music. That’s why we believe music is the perfect medium to express the “feeling of happiness” that Coca-Cola stands for. The partnership between Coca-Cola and Billboard, with their rich histories, created a unique connection between music and advertising.
Do you have any behind-the-scenes stories you can share?
The sunny, warm summer vibe in the ad was actually filmed on a snowy day. [Laughs]
In a time where the LGBTQ+ community seems to be under near-constant attack from the current presidential administration, GLAAD decided to celebrate queer and trans creatives in style on Thursday night (March 27) for the 2025 GLAAD Media Awards. The event, which was held at the Beverly Hilton Hotel in Los Angeles, honored stars from […]
Looks like running — and playing Forrest Gump — runs in the Hanks family. In the “You Better Run” music video for Chet Hanks’ band Something Out West, the singer tapped his famous father Tom Hanks to re-create scenes from Forrest Gump more than 30 years after the actor starred in the iconic film. The […]
At Universal Inside, held Wednesday (March 26) at the Tempodrom in Berlin, UMG Central Europe chairman/CEO Frank Briegmann showcased some of the label’s acts, updated attendees on the state of the German music market and offered a glimpse into the company’s future.
After an appearance by the pop act Blumengarten, Briegmann shared some good news about the German business. As streaming growth slows in other regions, Germany still has plenty of headroom, which is why the market grew 7.8% in 2024, surpassing the 2 billion euro mark for the first time. He also made the point that this was good news for artists, who one study showed increased their collective revenue faster than labels between 2010 and 2022.
Briegmann also laid out a plan for growth that relies on UMG’s “artist-centric model” to increase payments to acts that meet certain criteria, as well as the “streaming 2.0” idea that is intended to induce superfans into paying more for subscriptions. The label had an impressive 2024, accounting for five of the year’s top 10 albums, including Taylor Swift and Billie Eilish releases in the top two spots. Briegmann also pointed to the success of UMG’s classical label Deutsche Grammophon, where he is also chairman/CEO, as a particular highlight.
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Much of the potential for growth lies in superfans, Briegmann said, and pointed to the history of UMG’s efforts to identify, track and reach them directly. The latest iteration of that is a new in-house direct-to-consumer operation, SPARKD, which will offer artists a new service to reach consumers with both albums and merchandise sold by UMG’s Bravado, which will be integrated into the label business in Germany. Bravado will continue to do business with both UMG artists and others. The idea is to use existing data to drive more different kinds of business — which would, in turn, generate more data. Already, Briegmann said, Bravado had grown its German merchandise revenue by 50% in the last three years, thanks in large part to its direct-to-consumer business.
Universal Inside is never all business, and as usual, Briegmann introduced some of the label’s artists. He briefly interviewed German pop star Sarah Connor, who spent much of her career singing in English but will soon release the final album of a German-language album trilogy, Freigeistin. Deutsche Grammophon president Clemens Trautmann introduced the label’s star pianist Vikingur Ólafsson, and Gigi Perez played two songs on acoustic guitar.
The event closed with a brief speech from Berlin Senator for Culture and Social Cohesion Joe Chialo about the significance of the Electrola label, after which the German act Roy Bianco & Die Abbrunzati Boys played a few songs, joined for the classic “Ti Amo” by the schlager icon Howard Carpendale.
All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
Is seafoam the new black? The Jordan brand seems to think so.
Labeled as the “color of the season” on their site, the Nike subsidiary is bringing in the spring season with a variety of footwear and apparel in a soft greenish-blue color palette. Shop fan-favorite sneakers like the Air Jordan 1 Low SE and the Air Jordan 4 Retro, or upgrade your wardrobe with fleece tops and T-shirts in a seafoam makeover.
Although the cold weather isn’y fully gone yet, we must look ahead to the warmth to come. As we do, we can expect to see some lighter colorways making their way onto our favorite silhouettes. Fresh for spring, the special-edition AJ 1 Low sports white leather underlays paired with seafoam green hairy suede overlays. The trendy color is also found on the laces, the Jumpman logo on the tongue and insoles, and the lining. An aged, sail-colored midsole sits atop a seafoam-green solid rubber outsole, tying everything together.
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A similar aesthetic can be found on the popular Jordan 4 silhouette. Labeled as “Abundance,” the new colorway breathes new life in the retro design coming in a seafoam, metallic silver and sail hue. In addition, the sneaker includes the iconic “Jumpman” logo on their tongues, head-turning netting, the “Nike Air” logo on each heel, the signature transparent air bubble in each midsole and prominent wings on the metallic silver collar.
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There here are plenty of other great seafoam options for Nike fans to shop, including basketball sneakers, slides, and graphic tees. Add a fresh pop of color to your wardrobe this spring and shop Jordan’s color of the season collection below.
If you’re in the market for non-seafoam Jordan apparel, Travis Kelce’s 90s-style Jordan pullover hoodie is a must-cop for any MJ fan, as well as, the brand’s recent re-release of the “Cool Grey” Jordan 9 retro sneakers.
Best Jordan Sneakers in Seafoam Colorway
Air Jordan 1 Low SE sneakers
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Jordan Heir Series “Abundance” basketball sneakers
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Jordan Brooklyn fleece
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Jordan “LNY” t-shirt
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All products and services featured are independently chosen by editors. However, Billboard may receive a commission on orders placed through its retail links, and the retailer may receive certain auditable data for accounting purposes.
With the massive success of Wicked in 2024, Elphaba and Glinda are more popular than ever with the promise of its second part, Wicked: For Good, due in theaters this November. While the musical is available to stream online, you can also get ready for part 2 with new Wicked journals and notebooks.
With prices starting at $11.99 on Amazon, publishing company Insight Editions has a wide selection of Wicked-branded journals and notebooks, so you can take a bit of the hit movie musical with you in the classroom, coffee shop, or even the conference room.
They feature fun designs that show off popular characters from Wicked, including Elphaba, Glinda, The Wizard and more. In fact, there’s even a notebook with a Shiz University design, so you really feel like you’re a student at the magical institution of higher learning.
Scroll down and shop our recommendations for the best Wicked journals and notebooks on Amazon.
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Wicked: Wizard’s Balloon Sculpted Journal
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And if you’re an Amazon Prime member, you can order now and Wicked journals and notebooks will be delivered to your home in less than two days once it’s released, thanks to Prime Delivery.
Not a member? Sign up for a 30-day free trial to take advantage of all that Amazon Prime has to offer, including access to Prime Video, Prime Gaming and Amazon Photos; fast free shipping in less than two days with Prime Delivery; in-store discounts at Whole Foods Market; access to exclusive shopping events — such as Prime Day and Black Friday — and much more. Learn more about Amazon Prime and its benefits here.
The Wicked journals and notebooks from Insight Editions start at $11.99 on Amazon. Want more? Shop additional selections from the very popular movie musical, below:
For more product recommendations, check out our roundups of the best Xbox deals, studio headphones and Nintendo Switch accessories.
She Is The Music honored singer-songwriter Gracie Abrams and her support team of women at its Women Sharing the Spotlight event at The Peppermint Club in Los Angeles on Thursday (March 27). The event celebrated 50 impactful women in the music industry, each of whom shared their spotlight with another woman in the business. Alicia […]
Last September, Katy Perry released her seventh album, 143. The album peaked at No. 6 on the Billboard 200, while lead single “Woman’s World” hit a No. 63 high on the Hot 100.
The song was co-written and co-produced by Lukasz Gottwald, known better as Dr. Luke, who worked on nine out of the album’s 11 tracks. Upon release, his involvement caused controversy as fans questioned why Perry would return to working with the producer — who Kesha previously and publicly accused of physical, sexual, verbal and emotional abuse over a 10-year period. (Dr. Luke countersued for defamation, and in 2023 a settlement was reached.)
“I think there was some backlash for her reuniting with Dr. Luke,” Chris Anokute, who works as Perry’s A&R manager, said in his recent interview with The Manager’s Playbook. “[That] was my desire and recommendation.”
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During the interview, Anokute called Gottwald “a dear friend” and claimed that the many accusations leveled at the all the producer were “not true,” a fact that the producer himself has vehemently claimed over the last few years. “So I thought it was a good time to reunite them after 10 years of not working together and every single he’s ever done for her was No. 1,” Anokute said in the interview. “The press didn’t react favorably, and they basically tried to assassinate him and her.”
Dr. Luke previously worked on Perry hits including “I Kissed a Girl,” “Hot n Cold,” “California Girls,” “Dark Horse” and many more. Perry has collected nine Hot 100 No. 1s, with 36 songs in all on appearing on the tally.
On April 23, Perry will kick off her Lifetimes Tour, named after the second single from 143, in Mexico. The trek will hit the U.S. in May, opening in Houston. She’ll also visit Australia, Canada, South America and the UK and Europe, wrapping on November 11 in Madrid.
Check out Anokute’s full interview below:
With the recent news of slowing streaming growth in the U.S. and declining global revenue growth in recorded music, one might think the trends could have a negative impact on the market for publishing and recorded music catalogs.
Think again. For a handful of reasons, industry insiders who spoke to Billboard don’t believe the slowdown will have much — if any — effect on the continually brisk business in music intellectual property rights. Subscription revenue, which accounted for roughly 66% of U.S. revenue and approximately 51% of global revenue in 2024, according to the RIAA and IFPI, respectively, will continue to grow in mature markets and elsewhere.
“I don’t think the numbers that we’ve seen are enough to make any [music investors] worry too much,” says MIDiA Research’s Mark Mulligan. “I know that a lot of these funds have seen our numbers, and our numbers are relatively cautious about the outlook. We’re not bearish, but we’re not bullish either.”
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Numerous people pointed to Goldman Sachs’ estimates — a closely watched music forecast that remains something of a gold standard in the business — that both global recorded music and publishing revenue will grow at approximately 8% annually through 2030. What’s more, equity analysts seem comfortable with Universal Music Group’s forecast of 8-10% subscription growth through 2028.
In mature markets, future growth will come from higher prices after more than a decade of unchanged subscription fees. “We’ve all gotten comfortable with getting music at what I believe to be a subsidized rate versus its value,” says Jeremy Tucker, founder/managing member of Raven Music Partners, an investor in music catalogs. That subsidy is an underpricing of music subscriptions in order to attract new customers and help platforms achieve scale. Now that there are 818 million global subscribers, according to MIDiA Research, labels and streaming services seem intent on getting more from each subscriber.
Many streaming services raised their prices in 2022 and 2023, and Spotify raised prices in a few markets in 2024. Major labels that have renewed their licensing agreements with Spotify suggested the deals allow for higher-priced superfan tiers. Additionally, Warner Music Group CEO Robert Kyncl said at a March 10 banking conference that “there’s quite strong evidence that there’s a lot of room to grow on pricing, especially in … mature markets.” All of this means there will be more value coming to rights holders, says Tucker, who looks at a lengthy time horizon, not any single year’s results, when considering potential gains. “We think there’s going to be growth over the medium to long term. But, in any given year, the actual growth is not something I’m too worried about.”
Additionally, people expect rights holders will extract more value from catalogs through better blocking and tackling. While companies focused on subscriber growth over the last 15 years, the next era will be marked by better execution, says a person in the music investment field. Artificial intelligence, this person says, can help rights owners expand the global reach of their music by creating versions in multiple foreign languages at little cost. AI can also make royalty collection more effective and cost-efficient. These wins may not have the appeal of, say, a biopic that boosts an artist’s catalog. But from a financial point of view, expanding a song’s reach and cutting costs serve the buyer’s core mission of improving the return on investment.
While U.S. growth slows, much of the world is growing quickly, and Western companies that focus on English-language repertoire face a “bleak” future as emerging markets outpace markets where English-language music is most popular, says Mulligan. As a result, companies that failed to invest a decade ago are playing catch-up in markets dominated by local music. “What they should have done is started signing loads of artists [in emerging markets] 10 to 15 years ago,” Mulligan says.
Still, there’s opportunity in emerging countries and their local repertoire. Subscription penetration rates — the ratio of subscribers to the country’s adult population — are a good proxy for a country’s potential, explains Mulligan. Developed markets like the U.S. and U.K. have penetration rates in the high 40 percent, according to MIDiA’s latest data. Elsewhere, lower penetration rates suggest subscription revenue will increase down the road and, as a result, the local music business infrastructure will grow over time. Poland’s subscription penetration rate, in contrast, is 17%, Brazil’s is 16% and China’s is 13%. Indonesia, the world’s fourth-most populous country, has a 1.8% penetration rate. India, the world’s second-largest country, has a penetration rate of just 1.3%.
Low penetration rates correspond with growth potential, as streaming platforms help fuel infrastructure growth and subscription adoption adds more value to the market. “You get this virtuous circle of influence,” Mulligan explains, “where if you establish the infrastructure to create an audience, that creates the virtuous circle of investment, where people start setting up labels, people start being able to have their careers as artists, they create more music, more of that music exports, and the impact on the global market increases. India is maybe a third of the way along in the journey, whereas Indonesia has not even got started.”