Connect with us

Business

Hatsune Miku is playing Coachella, but she’s not human. Why brands are working with digital avatars

Published

on

Hatsune Miku is playing Coachella, but she’s not human. Why brands are working with digital avatars

On Friday morning, Hatsune Miku performs songs on her biggest stage yet — Coachella.

The turquoise-haired Japanese icon has been touring North America, singing to thousands of fans in large concert venues. She’s inked branding deals over the years with companies including Google . And on Friday, she’s expected to thrill her followers at one of the world’s biggest music festivals — on the same day as Lana Del Rey and the Deftones.

But Miku is not human. She’s a totally digital creation, like an online avatar or mascot.

Her music — mostly synthesizer-heavy dance pop — is created from software developed by the Sapporo, Japan-based technology company Crypton Future Media.

The technology lets people, including fans, type in lyrics and punch in a melody. The program generates a singing voice for the song. Crypton then licenses the songs from the fans for her to sing at concerts. Miku herself is an illustrated character, resembling a 16-year-old girl from an anime or manga. To “perform” onstage, Miku’s image is displayed on a giant screen as a video behind a live band.

Advertisement

Unlike the “hologram” performances of deceased celebrity artists (think Tupac and Roy Orbison) that took the music industry by storm a few years ago, virtual artists aren’t simply re-creations — they’re avatars performing original music.

As it would be for a local indie rock artist, landing a spot at Coachella is a significant milestone for Miku. And her human creators. One of the people from Crypton who will be there at Miku’s performance at the festival’s Mojave tent is Riki Tsuji, a member of the company’s global business team.

“I’ve never been to Coachella, so I have no idea what kind of people are going there, what the crowds are gonna be like,” said Tsuji, who is traveling with Miku on tour. “But we’ll be putting together a show that hopefully they won’t forget.”

An image of Hatsune Miku.

(Courtesy of Crypton Future Media Inc.)

Advertisement

Hatsune Miku is part of an expanding group of digital, non-human performers that are attracting the attention of brands and music fans.

They’ve generated fans from younger generations of audiences that brands are eager to attract and understand — the kinds of kids who spend two to three hours a day on average on Fortnite and Roblox and are thus comfortable interacting with digital characters and online worlds.

One non-human digital influencer, named Miquela, boasts 2.6 million followers on Instagram and has done commercials for Calvin Klein and BMW. She’s represented by major Hollywood talent firm Creative Artists Agency, best known for working with A-listers including Brad Pitt and Viola Davis.

“There’s a new paradigm in terms of the digital world and the digital landscape,” said Phil Quist, a music and emerging technology agent at CAA. “When you think about what that looks like moving forward, those kids are going to be so used to being in those realms that a lot of their entertainment is going to come from that space as well.”

Advertisement
Hatsune Miku performs at the Doug Mitchell Thunderbird Sports Centre in Vancouver to a crowd of fans on April 4.

Hatsune Miku performs at the Doug Mitchell Thunderbird Sports Centre in Vancouver to a crowd of fans on April 4.

(MIKU EXPO 2024 North America Vancouver show)

How much money a nonhuman virtual artist can earn varies widely., Gigs, ranging from social media posts to live performances, can generate up to nearly seven figures, Quist said.

“It ranges, but it’s very commensurate in terms of the following and engagement,” Quist said. “I think it can be comparable to ‘traditional talent’ in terms of what those deals look like.”

In addition to her Coachella appearance, Miku is putting on a North American tour, which includes 21 concerts in 17 cities. Initially, Miku announced 17 performances , but the tour expanded because of demand, Tsuji said.

Advertisement

Miku began as a singing voice synthesizer (a.k.a. a “vocaloid”) in 2007. Her voice has been used in more than 100,000 songs.

“She’s very much a vessel for people to kind of express themselves and come together as a community,” Tsuji said. “It’s not just an artist-listener relationship. Each listener could also be an artist in this community.”

Angelbaby, a Hume digital music artist

Angelbaby, a Hume digital music artist

(Courtesy of Hume)

But the growth of nonhuman influencers comes at a time when actual performers are worried about how digitization and automation through artificial intelligence could impact future work. The cost of creating a digital avatar could become cheaper as technology evolves. Human influencers could find themselves competing for the same brand deals as nonhuman ones.

Advertisement

The fandom surrounding digital artists can rival that of human musicians. During Austin’s South by Southwest festival in 2022, fans uploaded videos from a concert by digital music artist angelbaby, singing along to the songs.

Angelbaby, a computer-generated humanoid rapping rabbit, is owned by Hume, an L.A.-based metaverse tech and music company, which is now represented by CAA. Angelbaby’s single, “life is good,” which was released in November, hit more than 4 million streams on Spotify.

“At the end of the day, if the music wasn’t good for those artists, people would potentially point fingers and laugh,” Quist said. Looking at angelbaby, “you could tell that people were so engaged and enamored by the performance.”

The idea behind angelbaby came from Hume co-founders David Beiner and Jay Stolar. Stolar is a songwriter and producer who has worked with performers including Selena Gomez and Demi Lovato.

Hume created a backstory for angelbaby, a seven-foot rabbit from the year 3045, who is coping with losing the love of his life. Angelbaby has appeared on recordings with Grammy-winning producer Gino the Ghost and human music artists including boy band Prettymuch. The rabbit’s fans lean male and are in their 20s into their early 30s, Beiner said.

Advertisement

“I think on the emotional level if you do it right, people like to feel like they’re part of a fantasy,” Beiner said. “People have always liked to escape.”

Much of the work for virtual artists comes from partnerships with brands, who want to tap the performers’ younger, digitally savvy followers.

For example, Miquela — whose character is a socially conscious digital influencer from Downey — was featured in a commercial for BMW‘s iX2 electric vehicle. The bulk of Miquela’s fans are under 35.

“When you think about the BMW vehicle that came out that’s 100% electric,” said Ridhima Ahuja Kahn, vice president of business development and strategic initiatives at Dapper Labs, the company behind Miquela. “That was something that was really compelling to her because it tied in with a lot of her goals around sustainability.”

But like human influencers, there can also be some controversy surrounding digital ones.

Advertisement

Miquela’s ad with Calvin Klein showed her kissing model Bella Hadid, which some people online criticized as queer-baiting. Calvin Klein later said, “We sincerely regret any offense we caused.” Dapper Labs said it stands by the direction of the ad, which was to support all different types of backgrounds, genders and preferences.

“With virtual influencers, even they have drama too, just like any real-life influencer,” Ahuja Kahn said.

Many people worry that digital talent could take away human jobs. Last summer, writers and actors went on strike in part for more protections against the use of artificial intelligence.

“Anyone in the entertainment industry at large is very cognizant that a human resource of being on camera or being filmed or even writing a script or even editing a movie is being absorbed by what AI and technology can do,” said Elsa Ramo, a managing partner at Ramo Law PC.

But supporters of nonhuman talent say that the work can lead to more innovation, and, ultimately, jobs for the people who build the non-human influencers, although they acknowledge that AI will lead to more efficiency, which in turn will impact other jobs.

Advertisement
An image of Zlu, a blue alien model.

An image of Zlu, a blue alien model.

(Zlu / Ilian Gazut)

Ilian Gazut created Zlu, a blue alien model represented by management firm IMG Models who has done work for fashion designers like Karl Lagerfeld. Gazut said that Zlu’s movements are based on his movements.

“There is always a human behind it,” Gazut said. “So in my case, I didn’t have a job and thanks to him, I have a job.”

The world of digital, nonhuman influencers continue to evolve. Miquela, who made her first post in 2016, was originally conceived as being perpetually 19, but recently, the character made the jump to her 20s. And prospective schools are noticing.

Advertisement

“There are a few colleges who have reached out to us, so she’s looking at those and currently thinking about what the right fit for her would be and if college makes sense,” Ahuja Kahn said. “She’s been exploring what that path would look like for her.”

Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Business

Scott Bessent, Trump’s Billionaire Treasury Pick, Will Shed Assets to Avoid Conflicts

Published

on

Scott Bessent, Trump’s Billionaire Treasury Pick, Will Shed Assets to Avoid Conflicts

Scott Bessent, the billionaire hedge fund manager whom President-elect Donald J. Trump picked to be his Treasury secretary, plans to divest from dozens of funds, trusts and investments in preparation to become the nation’s top economic policymaker.

Those plans were released on Saturday along with the publication of an ethics agreement and financial disclosures that Mr. Bessent submitted ahead of his Senate confirmation hearing next Thursday.

The documents show the extent of the wealth of Mr. Bessent, whose assets and investments appear to be worth in excess of $700 million. Mr. Bessent was formerly the top investor for the billionaire liberal philanthropist George Soros and has been a major Republican donor and adviser to Mr. Trump.

If confirmed as Treasury secretary, Mr. Bessent, 62, will steer Mr. Trump’s economic agenda of cutting taxes, rolling back regulations and imposing tariffs as he seeks to renegotiate trade deals. He will also play a central role in the Trump administration’s expected embrace of cryptocurrencies such as Bitcoin.

Although Mr. Trump won the election by appealing to working-class voters who have been dogged by high prices, he has turned to wealthy Wall Street investors such as Mr. Bessent and Howard Lutnick, a billionaire banker whom he tapped to be commerce secretary, to lead his economic team. Linda McMahon, another billionaire, has been picked as education secretary, and Elon Musk, the world’s richest man, is leading an unofficial agency known as the Department of Government Efficiency.

Advertisement

In a letter to the Treasury Department’s ethics office, Mr. Bessent outlined the steps he would take to “avoid any actual or apparent conflict of interest in the event that I am confirmed for the position of secretary of the Department of Treasury.”

Mr. Bessent said he would shutter Key Square Capital Management, the investment firm that he founded, and resign from his Bessent-Freeman Family Foundation and from Rockefeller University, where he has been chairman of the investment committee.

The financial disclosure form, which provides ranges for the value of his assets, reveals that Mr. Bessent owns as much as $25 million of farmland in North Dakota, which earns an income from soybean and corn production. He also owns a property in the Bahamas that is worth as much as $25 million. Last November, Mr. Bessent put his historic pink mansion in Charleston, S.C., on the market for $22.5 million.

Mr. Bessent is selling several investments that could pose potential conflicts of interest including a Bitcoin exchange-traded fund; an account that trades the renminbi, China’s currency; and his stake in All Seasons, a conservative publisher. He also has a margin loan, or line of credit, with Goldman Sachs of more than $50 million.

As an investor, Mr. Bessent has long wagered on the rising strength of the dollar and has betted against, or “shorted,” the renminbi, according to a person familiar with Mr. Bessent’s strategy who spoke on condition of anonymity to discuss his portfolio. Mr. Bessent gained notoriety in the 1990s by betting against the British pound and earning his firm, Soros Fund Management, $1 billion. He also made a high-profile bet against the Japanese yen.

Advertisement

Mr. Bessent, who will be overseeing the U.S. Treasury market, holds over $100 million in Treasury bills.

Cabinet officials are required to divest certain holdings and investments to avoid the potential for conflicts of interest. Although this can be an onerous process, it has some potential tax benefits.

The tax code contains a provision that allows securities to be sold and the capital gains tax on such sales deferred if the full proceeds are used to buy Treasury securities and certain money-market funds. The tax continues to be deferred until the securities or money-market funds are sold.

Even while adhering to the ethics guidelines, questions about conflicts of interest can still emerge.

Mr. Trump’s Treasury secretary during his first term, Steven Mnuchin, divested from his Hollywood film production company after joining the administration. However, as he was negotiating a trade deal in 2018 with China — an important market for the U.S. film industry — ethics watchdogs raised questions about whether Mr. Mnuchin had conflicts because he had sold his interest in the company to his wife.

Advertisement

Mr. Bessent was chosen for the Treasury after an internal tussle among Mr. Trump’s aides over the job. Mr. Lutnick, Mr. Trump’s transition team co-chair and the chief executive of Cantor Fitzgerald, made a late pitch to secure the Treasury secretary role for himself before Mr. Trump picked him to be Commerce secretary.

During that fight, which spilled into view, critics of Mr. Bessent circulated documents disparaging his performance as a hedge fund manager.

Mr. Bessent’s most recent hedge fund, Key Square Capital, launched to much fanfare in 2016, garnering $4.5 billion in investor money, including $2 billion from Mr. Soros, but manages much less now. A fund he ran in the early 2000s had a similarly unremarkable performance.

Continue Reading

Business

As wildfires rage, private firefighters join the fight for the fortunate few

Published

on

As wildfires rage, private firefighters join the fight for the fortunate few

When devastating wildfires erupted across Los Angeles County this week, David Torgerson’s team of firefighters went to work.

The thousands of city, county and state firefighters dispatched to battle the blazes went wherever they were needed. The crews from Torgerson’s Wildfire Defense Systems, however, set out for particular addresses. Armed with hoses, fire-blocking gel and their own water supply, the Montana-based outfit contracts with insurance companies to defend the homes of customers who buy policies that include their services.

It’s a win-win if the private firefighters succeed in saving a home, said Torgerson, the company’s founder and executive chairman. The homeowner keeps their home and the insurance company doesn’t have to make a hefty payout to rebuild.

“It makes good sense,” he said. “It’s always better if the homes and businesses don’t burn.”

Torgerson’s operation, which has been contracting with insurance companies since 2008 and employs hundreds of firefighters, engineers and other staff, highlights a lesser-known component of fighting wildfires in the U.S. Along with the more than 7,500 publicly funded firefighters and emergency personnel dispatched to the current conflagrations, which have burned more than 30,000 acres and destroyed more than 9,000 structures, a smaller force of for-hire professionals is on the fire lines for insurance companies, wealthy individual property owners or government agencies in need of additional hands.

Advertisement

Their presence isn’t without controversy. Private firefighters hired by homeowners directly have drawn criticism for heightening class divides during disasters. This week, a Pacific Palisades homeowner received backlash for putting a call out on X, the social media site formerly named Twitter, for help finding private firefighters who could save his home.

“Does anyone have access to private firefighters to protect our home in Pacific Palisades? Need to act fast here. All neighbors houses burning,” he wrote in the since-deleted post. “Will pay any amount.”

“The epitome of nerve and tone deaf!” someone replied.

In 2018, Kim Kardashian and Kanye West credited private firefighters for saving their $60-million home in the Santa Monica mountains during a wildfire. But those who serve wealthy clients make up only a small fraction of nonpublic firefighters, according to Torgerson.

“Contract firefighters who are hired by the government are the vast majority,” he said. The federal government has been hiring private firefighters since the 1980s to support its own forces. According to the National Wildfire Suppression Assn., there are about 250 private sector fire response companies under federal contract, adding about 10,000 firefighters to U.S. efforts.

Advertisement

Some private firefighting companies, including Wildfire Defense Systems, are known as Qualified Insurance Resources and are paid by insurance companies to protect the homes of their customers. Wildfire Defense Systems refers to its on-the-ground forces as private sector wildfire personnel.

Wildfire Defense Systems only works with the insurance industry, but other privately held firefighting companies contract with industrial clients such as petrochemical facilities and utility providers. Wildfire Defense Systems declined to disclose company revenue or what it charges for its services.

Allied Disaster Defense, a company that has sent personnel to the fires in Los Angeles, offers services to both property owners and insurance companies. Its website says its services will “enhance the insurability of properties” and “contribute to reduced claims.”

The website also has a page dedicated to services for private clients, which include emergency response and assistance with insurance claims for “high net-worth and celebrity” customers. The company does not list prices for its services and has nondisclosure agreements with its private clients.

Several other private firefighting companies are based in California, including Mt. Adams Wildfire, which contracts with government agencies, and UrbnTek, which serves Los Angeles, Orange County and San Diego among other areas. Along with spraying fire retardant on trees and brush to stop an advancing fire, the company offers “a double layer of protection by wrapping a structure with our fire blanket system.”

Advertisement

Torgerson, a civil engineer with 34 years in emergency services, said he has been struck by the speed of the current wildfires. While typically it takes two to 10 minutes for a fire to sweep through a home, he said, the Palisades fire is traveling at higher speeds.

“It’s moving so fast, it’ll likely take one to two minutes for these fires to pass over the properties,” he said.

He said his company responded to all 62 of the wildfires that threatened structures in California in 2024 and didn’t lose a property.

Advertisement
Continue Reading

Business

As Delta Reports Profits, Airlines Are Optimistic About 2025

Published

on

As Delta Reports Profits, Airlines Are Optimistic About 2025

This year just got started, but it is already shaping up nicely for U.S. airlines.

After several setbacks, the industry ended 2024 in a fairly strong position because of healthy demand for tickets and the ability of several airlines to control costs and raise fares, experts said. Barring any big problems, airlines — especially the largest ones — should enjoy a great year, analysts said.

“I think it’s going to be pretty blue skies,” said Tom Fitzgerald, an airline industry analyst for the investment bank TD Cowen.

In recent weeks, many major airlines upgraded forecasts for the all-important last three months of the year. And on Friday, Delta Air Lines said it collected more than $15.5 billion in revenue in the fourth quarter of 2024, a record.

“As we move into 2025, we expect strong demand for travel to continue,” Delta’s chief executive, Ed Bastian, said in a statement. That put the airline on track to “deliver the best financial year in Delta’s 100-year history,” he said.

Advertisement

The airline also beat analysts’ profit estimates and said it expected earnings per share, a measure of profitability, to rise more than 10 percent this year.

Delta’s upbeat report offers a preview of what are expected to be similarly rosy updates from other carriers that will report earnings in the next few weeks. That should come as welcome news to an industry that has been stifled by various challenges even as demand for travel has rocketed back after the pandemic.

“For the last five years, it’s felt like every bird in the sky was a black swan,” said Ravi Shanker, an analyst focused on airlines at Morgan Stanley. “But it appears that this industry does have its ducks in a row.”

That is, of course, if everything goes according to plan, which it rarely does. Geopolitics, terrorist attacks, air safety problems and, perhaps most important, an economic downturn could tank demand for travel. Rising costs, particularly for jet fuel, could erode profits. Or the industry could face problems like a supply chain disruption that limits availability of new planes or makes it harder to repair older ones.

Early last year, a panel blew off a Boeing 737 Max during an Alaska Airlines flight, resurfacing concerns about the safety of the manufacturer’s planes, which are used on most flights operated by U.S. airlines, according to Cirium, an aviation data firm.

Advertisement

The incident forced Boeing to slow production and delay deliveries of jets. That disrupted the plans of some airlines that had hoped to carry more passengers. And there was little airlines could do to adjust because the world’s largest jet manufacturer, Airbus, didn’t have the capacity to pick up the slack — both it and Boeing have long order backlogs. In addition, some Airbus planes were afflicted by an engine problem that has forced carriers to pull the jets out of service for inspections.

There was other tumult, too. Spirit Airlines filed for bankruptcy. A brief technology outage wreaked havoc on many airlines, disrupting travel and resulting in thousands of canceled flights in the heart of the busy summer season. And during the summer, smaller airlines flooded popular domestic routes with seats, squeezing profits during what is normally the most lucrative time of year.

But the industry’s financial position started improving when airlines reduced the number of flights and seats. While that was bad for travelers, it lifted fares and profits for airlines.

“You’re in a demand-over-supply imbalance, which gives the industry pricing power,” said Andrew Didora, an analyst at the Bank of America.

At the same time, airlines have been trying to improve their businesses. American Airlines overhauled a sales strategy that had frustrated corporate customers, helping it win back some travelers. Southwest Airlines made changes aimed at lowering costs and increasing profits after a push by the hedge fund Elliott Management. And JetBlue Airways unveiled a strategy with similar aims, after a less contentious battle with the investor Carl C. Icahn.

Advertisement

Those improvements and industry trends, along with the stabilization of fuel, labor and other costs, have created the conditions for what could be a banner 2025. “All of this is the best setup we’ve had in decades,” Mr. Shanker said.

That won’t materialize right away, though. Travel demand tends to be subdued in the winter. But business trips pick up somewhat, driven by events like this week’s Consumer Electronics Show in Las Vegas.

The positive outlook for 2025 is probably strongest for the largest U.S. airlines — Delta, United and American. All three are well positioned to take advantage of buoyant trends, including steadily rebounding business travel and customers who are eager to spend more on better seats and international flights.

But some smaller airlines may do well, too. JetBlue, Alaska Airlines and others have been adding more premium seats, which should help lift profits.

While he is optimistic overall, Mr. Shanker acknowledged that the industry was vulnerable to a host of potential problems.

Advertisement

“I mean, this time last year you were talking about doors falling off planes,” he said. “So who knows what might happen.”

Continue Reading

Trending