juscl

flirtatious like an aires

[PRIMERIES @primeriesafrica]

This is NOT Ai mind you

[PRIMERIES @primeriesafrica]

Qroqui (2026)

[Membrana de Tiffany & Co. stco @elciempies]

Same energy

[Rihanna @rihanna]

back at it with @Edward_Enninful 🧡

#EE72

[𝜗ৎ @balleroine]

Unique bagcharm for your bag

a thread

[metaphysician. @oneooneseven]

Frank Morrison.

[ヘビーゲイジ 大西 @heavygauge01]

他にも

[ヘビーゲイジ 大西 @heavygauge01]

撮影OKだったのでいっぱい撮らせていただきました

[DOJA CAT HARD @dojacathard]

🚨 Doja Cat performando “Wet V*gina” na #TourMaVie em Birmingham, Reino Unido.

[PmAmTraveller @pmamtraveller]

Anok Yai for the cover of British Vogue

[˚ʚ marcus ɞ˚ @unc4nny_X]

My thing is it isn’t just hot air. At some point yall have to see your watching the same things over and over again. Nothing about this is original. Gay white men soldiers. Gay white men sports. Gay white men at the club. Like cmon.

[lucy @lucysnasa]

the mic hanging off her heel is so cunty i am so sick and floored #TourMaVie

[N @dearvotion]

This vampiric beauty.

[Ajibola @4jibola]

music is honestly one of the best parts of being alive.

[𝐇𝐀𝐃𝐋𝐄𝐘𓄋𓆌 @poisonhoneybee_]

LEMONADE THE FULL FILM.🍋

[mdg @meparierondepie]

yo volviendo de sevilla: donde cojones esta mi silla? la acabo de perder joder

la humilde amaia multiinstrumentalista:

[ima @querisatullanto]

sumamente conmovido con eso que dijo Almodóvar de que los lugares donde más se dice la verdad son la cocina y el baño

[gal౨ৎ @prtygal777]

weeping willows might just be the most beautiful trees in existence

[Linus ✦ Ekenstam @LinusEkenstam]

Its Aus Taylor.

The impressing things is not his alleged raise. it's the number $20.9 billion.

That’s how much Live Nation’s concerts division pulled in during 2025 alone. up 10 percent from the year before, part of a $25.2 billion total live business.

Artists are now making 70 to 85 percent of their money from touring.

Streaming pays pennies.

One night on a glowing, rotating Earth-like globe in front of 70,000 fans isn’t just visuals. It’s the entire revenue model.

Aus Taylor didn’t build the set alone.

He and Ye collaborated on something symbiotic: a massive half-sphere suspended on the stadium floor, shifting from blue planet to abstract orb, lit with smoke, projections, and water effects that turned SoFi into a living Akira frame.

No traditional stage. No catwalk. Just Ye standing literally on top of the world for two straight hours.

The economics are unforgiving.

Big stadium productions routinely cost $3 to $8 million per night in rigging, custom spheres, lighting crews, and effects. One weather glitch or tech failure can erase a week’s profit.

Yet the return is ruthless: premium tickets averaging well north of $150, often $400 plus on resale, near-instant sellouts, plus merch and local economic spill.

One international date alone once delivered $56 million to the host city on just $7.2 million in tickets. Ye sold 42,000 seats in China in under ten minutes.

The part every “insane visuals” comment misses is the incentive flip.

In the 1990s, albums funded tours. Today the recorded track is the trailer; the live spectacle is the product.

Pink Floyd’s Wall and Michael Jackson’s Bad tour used dramatic sets to sell tickets.

Ye and Aus Taylor scaled it for the infinite-content era.

Every frame instantly shareable, every attendee a free marketing node.

Es Devlin’s earlier Saint Pablo mountain stage was the proof of concept. This globe is the evolution.

Risks are real. Moving a 70-foot oscillating sphere in an open stadium, syncing it to every beat, surviving California weather. Logistics alone can bankrupt a tour.

But the upside compounds: FOMO fuels secondary-market premiums, keeps cultural heat alive, and turns fans into evangelists for an experience no phone screen can replicate.

These aren’t line-item expenses. They’re the flywheel.

The set designer doesn’t need a raise because the visuals look cool. He needs one because those visuals are now the only scarce good left in music.

In an economy drowning in free streams, the irreplaceable live ritual, built on one perfectly timed, planet-sized stage, remains the last thing worth paying real money to witness in person.

We long for analog, and Aus & ye just showed us how much it matters.