Posts tagged with "Forbes"

Taylor Swift illustration by Heather Skovlund for 360 Magazine

Fearless (Taylor’s Version)

FEARLESS (TAYLOR’S VERSION) BOWS AT #1 IN THE U.S., UK, CANADA, AUSTRALIA & MORE AND BECOMES TAYLOR SWIFT’S 3RD #1 ALBUM IN LESS THAN A YEAR & THE BIGGEST COUNTRY ALBUM DEBUT SINCE 2015
 
BIGGEST FIRST-WEEK DEBUT OF 2021 & BIGGEST FEMALE COUNTRY STREAMING WEEK EVER!

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Returning to #1 around the world and breaking numerous records, Taylor Swift has made history yet again with Fearless (Taylor’s Version). Notably, she’s the first woman with three new No. 1 albums in less than a year. Moving over 1 million units worldwide, Fearless (Taylor’s Version) logged the “biggest first week debut of any album this year,” “the biggest first week debut for a country album since 2015” and “the biggest female country streaming week ever. Fearless (Taylor’s Version) is the only No. 1 album of its kind: a re-recording of an artist’s (own or another’s) previously released album.
 
Generating 50 million-plus streams on release day, it also achieved “the biggest first day streaming debut for any album on Spotify this year” and marked her fourth consecutive album to exceed 50 million Spotify streams in 24 hoursFearless (Taylor’s Version) also becomes the first country album by a female artist to reach #1 on Apple Music’s US Albums chart.
 
In addition to capturing #1 on the Billboard Top 200, #1 on the Billboard Top Album Sales chart and #1 on the Billboard Country Albums chart, it went #1 in the UK, Canada, Australia, New Zealand, and Ireland. It debuted Top 5 in Belgium, Norway and the Netherlands and in Germany it was the biggest debut by a country album in the history of Germany’s album chart. Fearless (Taylor’s Version) charted at #1 on the iTunes Top Overall Albums Chart in 61 countries.
 
Fearless (Taylor’s Version) stands out as Taylor’s 4th #1 album in less than two years with the “3 biggest debuts since July 2020” with folkloreevermore, and Fearless (Taylor’s Version). It also emerges as “the biggest female country album debut since the inception of the Billboard Top 200 album-based conception charts in 2014.” Fearless (Taylor’s Version) is the eleven-time GRAMMY Award-winning, record-breaking superstar’s 9th #1 Album.
 
Taylor entered rarified air across the pond as Fearless (Taylor’s Version) became her 3rd album to chart #1 during its debut week in less than a year in the UK. The Beatles had previously accomplished this incredible feat the fastest in 364 days, but Taylor eclipsed the speed of The Fab Four as she reached this benchmark and accumulated three #1’s in just 259 days—a difference of 105 days.
 
Not only did it become her 7th #1 in the country, but Taylor became “the first and only solo artist ever to claim three UK #1 albums in less than 12 months during the 21st century” and “the first ever international artist and first ever female artist to land three #1 albums in the UK within one year in history.”
 
Physical sales of Fearless (Taylor’s Version) outsold the remaining combined total physical sales of the UK Top 15. The permanent downloads also bested the remaining combined total permanent downloads of the Top 70. She shattered her own record for the second time in the last year as “the first and only female artist to garner 7 #1 studio albums in the UK this century. Additionally, she has gathered “the 3rd Most #1 albums in the UK by a female artist.
 
Down Under, Taylor is now “the first artist to release three #1 albums in a 12-month period in Australia.” Taylor is the first artist to have three different albums top the ARIA Charts in a twelve-month period. She bests her own record of “the shortest span of #1 albums in Australia” with only 17 weeks between evermore and Fearless (Taylor’s Version). Her previous record was 20 weeks between folklore and evermore. With eight total #1 albums in Australia, she is second for “female artist with most #1 albums” only behind Madonna and just behind Eminem for “most consecutive #1 albums.” At radio, “Mr. Perfectly Fine (Taylor’s Version)” bows in the Top 10 on the Airplay Chart.

REVIEWS OF FEARLESS (TAYLOR’S VERSION)

  • A Rating” – The A.V. Club, Saloni Gajjar
  • “5/5 Stars” – The Daily Telegraph, Neil McCormick
  • “Fearless was always an exceptionally fine album of country-pop songs, detailing the romantic fixations of a wholesome teenage American girl on the verge of adulthood, and guess what? It still is.” – The Daily Telegraph, Neil McCormick
  • “4/5 Stars” – Rolling Stone, Jonathan Bernstein
  • “Her thirtysomething voice is richer, deeper, and more sure of itself.” – Rolling Stone, Jonathan Bernstein
  • “There are the songs that feel more moving now than they did 13 years ago.” – Rolling Stone, Jonathan Bernstein
  • “4/5 Stars” – The Guardian, Alexis Petridis
  • “Fearless is the kind of album in which fans have a genuine emotional investment.” – The Guardian, Alexis Petridis
  • “She’s changed from a talented kid with a guitar to one of today’s biggest superstars.” – USA Today, Hannah Yasharoff
  • “The new album is really well done.” – Entertainment Weekly, Lauren Huff
  • “Fearless (Taylor’s Version)” Is Even More Beautiful Than The Original Album” – Buzzfeed, Ryan Schocket
  • “Taylor’s vocals are undeniably stronger, smoother, and more connected than ever.” – Buzzfeed, Ryan Schocket
  • “The vault songs are making everyone question why the album wasn’t 27 tracks long to begin with.” – Buzzfeed, Ellie Bate
  • “Taylor Swift’s Fearless Re-Recording Is a Thrilling Timewarp.” – SPIN, Bobby Olivier
  • “4/5 Stars” – i Newspaper, Sarah Carson
  • “There are lyrics throughout Taylor Swift’s breakthrough record Fearless that nearly 13 years later, feel prophetic.” – i Newspaper, Sarah Carson
  • “There’s something really special about listening to Taylor sing these songs knowing the huge distance between where she is now and who she was when she wrote them.” – TIME, Annabel Gutterman
  • “I love that this re-recorded album is essentially a love letter to being a teenage girl. The world still dismisses teenage girls as not serious enough, too dramatic, and overall too much. Adolescence is often looked back on with embarrassment and shame. But these songs make me want to give my former 14-year-old self a hug and tell her she was doing just fine.” – TIME, Samantha
  • “It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears.” – Variety, Chris Willman
  • “Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not.” – Variety, Chris Willman
  • “It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close.” – Variety, Chris Willman
  • “4/5 Stars” – NME, Hannah Mylrea
  • “‘Fearless (Taylor’s Version)’ both celebrates and stays true to Swift’s ‘Fearless’-era.” – NME, Hannah Mylrea
  • “Swift never cringes away from her younger self. Instead, she revisits the songs with kindness and affection, celebrating the success of her teenage releases.” – NME, Hannah Mylrea
  • “Taylor Swift’s Fearless album proves her songs were written to last.” – The Independent, Roisin O’Connor
  • “We can’t help but be impressed…” – Evening Standard, David Smyth
  • “Taylor Swift has taken control.” – Forbes, Abigail Freeman
  • “ALBUM OF WEEK: The real treats are the extra tracks, previously unreleased outtakes from the Fearless sessions. Maren Morris duets on the gorgeous You All Over Me, Keith Urban crops up and Mr Perfectly Fine is the banger that should have shown 13 years ago why country alone could never contain Swift’s talent.” – The Sunday Times, Lisa Verrico
  • “I immediately went to the chorus of “Fifteen,” one of my 2000s pop high-water marks, to see if I’d get chills. Good news: I did. Felt that gut punch during “White Horse.” “You Belong With Me” had that crucial air of resignation.” – The New York Times, Jon Caramanica
  • “As she dives back into her past work, it’s another reminder of what she brought to the genre — and what it lost when she moved on.” – The Washington Post, Emily Yahr
  • “The redone tracks from the original release, which make up the album’s first portion, are almost uniformly better than their forebears: warmer, crisper, more clearly enunciated. They sound newer and, at the same time, more lived-in.” – The Washington Post, Allison Stewart
  • “Taylor Swift releases a ‘perfect replica’ of Fearless.” – BBC, Mark Savage
  • “Damn, this album holds up – not only to the hype of its initial release, but despite that, beyond that.” – Consequence of Sound, Katie Moulton
  • “8/10” – The Line of Best Fit, Ross Horton
  • “4/5 Stars” – The Times, Will Hodgkinson
  • “Swifties grab your tissues, the release of Taylor Swift’s Fearless (Taylor’s Version) is finally here in all its nostalgic and emotional glory.” – Wonderland, Staff Writer
  • “8/10” – Clash, Lucy Harbron
  • “Like a restored photograph brightening from black and white into colour, Fearless (Taylor’s Version) is the same, but better.” – Clash, Lucy Harbron
  • “It’s the latest evidence that Swift is not just fearless but also relentless.” – Stereogum, Chris DeVille
  • “8/10” – Gigwise, Kelsey Barnes
  • “Swift is creating a bridge between two worlds; one where she’s merging older, timeless songs with a mature voice and outlook.” – Gigwise, Kelsey Barnes
  • “4/5 Stars” – The Evening Standard, David Smyth
  • “A masterclass in classic Nashville songwriting, from the searing melodrama of Love Story to the breakdown of a relationship in Breathe.” – The Times, Will Hodgkinson
  • “5/5 Stars” – The Sun, Simon Boyle
  • “This is brilliant pop” – The Sun, Simon Boyle

LISTEN TO FEARLESS (TAYLOR’S VERSION) HERE

Victoria Selbach for UNRAVELED Confronting The Fabric of Fiber Art. For use by 360 Magazine

UNRAVELED: Confronting The Fabric of Fiber Art

A Group Show Curated by Indira Cesarine

OPENING RECEPTION: April 17, 2021

VIP Preview 1pm – 3pm // Opening Reception 3pm – 8pm

EXHIBITION ON VIEW: April 17 – May 28, 2021

45 Lispenard Street, NYC 10013

The Untitled Space is pleased to present “UNRAVELED: Confronting The Fabric of Fiber Art” group show opening on April 17 and on view through May 28, 2021. Curated by Indira Cesarine, the exhibition will feature textile and fiber-based artworks by 40 contemporary women artists. “UNRAVELED: Confronting The Fabric of Fiber Art” explores in depth the themes and techniques of the medium through the works of female-identifying artists working with natural and synthetic fiber, fabric, and yarn. The exhibition presents figurative and abstract works that address our lived experience and history through the lens of women weaving, knotting, twining, plaiting, coiling, pleating, lashing, and interlacing. Narratives of self-identification, race, religion, gen­­der, sexuality, our shared experience, as well as protest and the patriarchy are literally “unraveled” through embroidery, felt, woven and hooked rugs, braided and sewn hair, sewn fabrics, discarded clothing, cross-stitching, repurposed materials and more.

Exhibiting Artists: Amber Doe, Carol Scavotto, Caroline Wayne, Christy O’Connor, Daniela Puliti, Delaney Conner, Dominique Vitali, Elise Drake, Elizabeth Miller, Hera Haesoo Kim, Indira Cesarine, Jamia Weir, Jody MacDonald, Julia Brandão, Kathy Sirico, Katie Cercone, Katie Commodore, Katrina Majkut, Katy Itter, Kelly Boehmer, Linda Friedman Schmidt, Lisa Federici, Marianne Fairbanks, Mary Tooley Parker, Melanie Fischer, Melissa Zexter, Mychaelyn Michalec, Mz Icar, Orly Cogan, Robin Kang, Rosemary Meza-DesPlas, Ruta Naujalyte, Sally Hewett, Sarah Blanchette, Sooo-z Mastopietro, Sophie Boggis-Rolfe, Stacy Isenbarger, Stephanie Eche, Victoria Selbach, and Winnie van der Rijn.

Curatorial Statement:

unravel [ uhn-rav-uhl ] to separate or disentangle the threads of (a woven or knitted fabric, a rope, etc.). to free from complication or difficulty; make plain or clear; solve: to unravel a situation; to unravel a mystery.

“UNRAVELED: Confronting the Fabric of Fiber Art” investigates the narratives of contemporary fiber artists. The exhibition brings together a diverse group of artists who each address through their own personal vision, materials, and methods, works that are deeply rooted in the history of feminism, in the intersection of art and craft, addressing our living experiences and personal languages. We live in a world of extremes – on one hand, the pandemic has brought forth an intensity on digital and online programming peaking with the emergence of NFT art, and on the opposite end of the spectrum we are seeing a return to the comforts of the home and along with it a renaissance of organic and handmade artworks that embody that spirit. The laborious and repetitive methods required to create one work of fiber art can take hundreds of hours, yet equally the creation process is often referred to as a mediative act of healing, allowing for an expressive personal and cultural interrogation.

Fibers have been an integral part of human civilization for thousands of years. Textile art is one of the oldest art forms, dating back to prehistoric times. Despite early works of textiles such as embroideries and tapestries having been made by both men and women, the tradition of textiles and needlework evolved into that of “women’s work” and was not only dismissed as not “important” but was literally banned from the high art world by the Royal Academy in the 18th century (circa 1769). With the rise of the women’s movement as well as technological advances, women reclaimed the medium, subverted its history as a lesser art form, and transformed it into a tool of expression, of protest, of personality. From early suffrage movement embroidered banners to the groundbreaking exhibitions and works of female pioneers such as Bauhaus weaver Anni Alber’s momentous solo show at the Museum of Modern Art in 1949, Lenore Tawney’s exhibition at the Staten Island Museum in 1961 to Judy Chicago’s groundbreaking 1979 work “The Dinner Party”, we have seen the medium evolve and inspire new generations of fiber artists.

“UNRAVELED: Confronting the Fabric of Fiber Art” explores this new wave of female-identifying artists who are using materials ranging from thread and yarn to human hair, fabrics, and discarded clothing, among a range of other components to unravel the “language of thread” with works that provoke and interrogate. Whether drawn from a deeply personal narrative, or rooted in political motivation, each artist weaves, spins, sews, and hooks the viewer with their detailed and intricate textures that communicate and empower. The exhibition presents two and three-dimensional pieces that explore with gravity and humor our contemporary culture, its beauty, flaws, and idiosyncrasies through murals, assemblages, fragile and gestural threads, meditative, and metaphorical fibers. “UNRAVELED: Confronting the Fabric of Fiber Art” pushes the boundaries, investigates ancient as well as new materials and techniques, and presents a contemporary universe of the language of women and their interwoven, progressive vocabulary.”– Curator Indira Cesarine

“To know the history of embroidery is to know the history of women.” – Rozsika Parker author of “The Subversive Stitch” (1984)

“I am a multimedia artist who uses sculpture and performance to bear witness to the experiences of black women even as American society aims to render us and our lives as invisible and meaningless. Despite the prevalent “urban black” narrative, my experience is tied to the natural world, and I use materials that reference my desert environment and my lived experience as a black woman with Indigenous roots.” – Artist Amber Doe

“I mix subversion with flirtation, humor with power, and intimacy with frivolity. My subject matter is frank and provocative, dealing with issues of fertility, sexuality, self-image, isolation, vulnerability, indulgence, and beauty in the mundane, which are designed to challenge social stereotypes embedded within childhood fairytales. My work explores the many flavors of feminism.” – Artist Orly Cogan

“I pull from my autobiography to illustrate stories of trauma, sexuality, intimacy, and growth. Detailed beading and cyclical patterning emphasize the consistent labor in the repetitive motion of handsewing, that which mirrors the emotional and psychic labor expended in order to manage the suffering a body can accumulate over time. My sculptures translate the life experience of a survivor of complex trauma through the lens of glittering beadwork in order to recount deeply traumatic stories for the same cultural collective that due to repression, denial, censorship and deliberate silencing…” –Artist Caroline Wayne

“This body of work scrutinizes the amalgamation of victim shaming tropes that men and women are taught throughout their lives, both passively and actively, through social norms, pop culture, our educational and legal systems, religious establishments, and familial influences and upbringing.” – Artist Christy O’Connor

“My work focuses on my personal experience living within the confines of a female body, exploring sexuality, religion, and body image. The shared narratives of childbirth, menstruation, dysmorphia, sexual violation, and societal scrutiny all come into play and find connections with the viewers in their shared commonality.” – Artist Dominique Vitali

“My textile works are hand-sewn, fabric based sculptural pieces made from recycled materials that have multiple uses as ritual talismans, wearables, ecstatic birth blankets, dreamcatchers and traveling altars”. – Artist Katie Cercone

“Discarded clothing is my paint. I give second chances to the worn, the damaged, the mistreated, the abandoned, the unwanted, and to myself. My emotional narrative portraits and figurative artworks examine the human condition through my own lived experience. The violence of cutting and deconstruction make way for the reconstruction and refashioning of a broken past.” – Artist Linda Friedman Schmidt

“We are drawn to the grand gesture, the loud assured voice, the bold move, the aggressive brush stroke. I celebrate the opposite: the small moments in our lives – the unremarkable… as Covid-19 took over, some of the things I was celebrating became even more pertinent; toilet paper, soap, hand sanitizer. These objects became signs of hope, of safety, of comfort.” – Artist Melanie Fischer

ABOUT THE UNTITLED SPACE

The Untitled Space is an art gallery located in Tribeca, New York in a landmark building on Lispenard Street. Founded in 2015 by artist Indira Cesarine, the gallery features an ongoing curation of exhibits of emerging and established contemporary artists exploring conceptual framework and boundary-pushing ideology through mediums of painting, sculpture, printmaking, photography, video and performance art. The gallery is committing to exploring new ideas vis-à-vis traditional and new mediums and highlights a program of women in art. Since launching The Untitled Space gallery, Cesarine has curated over 40 exhibitions and has exhibited artwork by more than 450 artists. Her curatorial for The Untitled Space includes solo shows for artists Sarah Maple, Rebecca Leveille, Alison Jackson, Fahren Feingold, Jessica Lichtenstein, Tom Smith, Loren Erdrich, Kat Toronto aka Miss Meatface, Katie Commodore, and Jeanette Hayes among many others. Notable group shows include “Art4Equality x Life, Liberty & The Pursuit of Happiness” public art exhibition and group show presented in collaboration with Save Art Space, “IRL: Investigating Reality,” “BODY BEAUTIFUL,” “SHE INSPIRES,” Special Projects “EDEN” and “(HOTEL) XX” at SPRING/BREAK Art Show, and internationally celebrated group shows “UPRISE/ANGRY WOMEN,” and “ONE YEAR OF RESISTANCE” responding to the political climate in America, as well as numerous other critically-acclaimed exhibitions. Recent press on Indira Cesarine & The Untitled Space includes Vogue (US), Vogue Italia, CNN, Forbes, Newsweek, W Magazine, Harper’s Bazaar, Teen Vogue, New York Magazine, i-D Magazine, Dazed and Confused, and The New York Times among many others.

*Featured image artwork by Victoria Selbach for UNRAVELED: Confronting The Fabric of Fiber Art. 

artwork by  Elise Drake, UNRAVELED Confronting The Fabric of Fiber Art. For use by 360 Magazine

Artwork by Elise Drake, UNRAVELED Confronting The Fabric of Fiber Art.

artwork by Indira Cesarine, for UNRAVELED Confronting The Fabric of Fiber Art. For use by 360 Magazine

Artwork by Mary Tooley Parker, UNRAVELED Confronting The Fabric of Fiber Art.

Heather Skovlund Music illustration 360 Magazine

Mount Music Talent Management Relocation

Virginia is For Music Lovers: Mount Music Talent Management Relocates to Virginia from LA, Signs Tall Boy Special

Los Angeles talent agency relocates to Richmond, Virginia, and signs TikTok sensation Tall Boy Special

Founded in Los Angeles in 2017, Mount Music & Entertainment is making the move across country, relocating to Richmond, Virginia. The move gives the agency a chance to expand the roster of talent that it represents and manages. The latest talent Mount Music & Entertainment has signed is Tall Boy Special, a TikTok sensation that combines music and comedy. With the recent re-brand and name change, the agency is growing their expanding list of talent, to include not only musicians and songwriters, but actors, comedians, writers, and more.

“Comedy has been very important in my personal life, with many of my close personal friends being comedians, so it feels like a natural progression for MME to develop beyond the scope of music and start representing a multi-hyphenate act like Tall Boy Special,” explains Dave Mount, military veteran and founder of Mount Music & Entertainment.

Mount Music & Entertainment manages artists in a wide range of genres, including soul, pop, R&B, comedy, and pop country. It specializes in providing an individualized management experience that is designed to suit the needs of each of its clients. Some of the talent it represents include Erin & The Wildfire, a Richmond-based group, and formerly the agency represented Meghan Linsey.

It is one of the many companies that have decided to relocate after being inspired by COVID to consider changes to their business model. During last summer, the company had the opportunity to get to know the music in the area. They became passionate about the city and all it has to offer to those in entertainment, prompting the agency to make the move across country. The Richmond area is gaining fame for its underground music scene. In 2019, Forbes called it “the underground music city everyone needs to visit.”

“We are excited about making the move to Richmond and look forward to expanding our roster and growing as an agency there,” added Mount. “This move and new signing comes at the perfect time, as people are ready to move on and up. This is the next chapter in Mount Music & Entertainment, and we’re ready for it.”

Tall Boy Special is comprised of multi-hyphenate musicians, comedians, actors, writers, directors and producers Alex Kagy, John MacGregor and Zack Barker. They are most recently known for their viral TikTok success, where they have amassed nearly 20,000 followers and 100,000 likes by showcasing their many talents. They are currently working on their first studio album. To get more information about them and get links to their social media pages, visit their website.

Mount Music & Entertainment offers entertainment industry consulting services, in addition to talent management. Its experiences include consulting a wide range of artists and private equity firms. It specializes in music law, expert witness testimony, litigation support, investment analysis, licensing, publishing, streaming, and more. Clients include Morgan Stanley, Goldman Sachs, Fidelity, and RocNation. To learn more about the company, visit their website.

About Mount Music & Entertainment

Founded in 2017 in Los Angeles, Mount Music & Entertainment offers talent management to those in a wide variety of genres. The company was started by David Mount, a military veteran who is a lifelong guitarist and songwriter. David participates in the Recording Academy’s annual District Advocate Day. To learn more about the company, visit their website. Follow them on Instagram and Twitter.

Empowering women by Heather Skovlund for 360 Magazine

How Women Can Rethink—And Smash The Myths Holding Them Back

COVID-19 has played havoc with many people’s careers, but it may have been especially detrimental to women.

Research shows that working mothers are dropping out of the workforce much faster than working fathers, at least in part because many schools switched to remote learning and at least one adult needed to be in the home with the children. One study by McKinsey & Company and Lean In also found that one-fourth of women they surveyed at 317 companies are considering downshifting their careers or leaving the workforce entirely.

As a result, the disruptions 2020 brought could have a long-term impact on women’s careers as well as their family’s finances.

But all might not be lost. These difficult times could be an opportunity for women to rethink their personal journeys and decide who and what they want to be going forward, says Andi Simon, a corporate anthropologist, founder of Simon Associates Management Consultants, and author of the upcoming book Rethink: Smashing the Myths of Women in Business.

“I often say if you want to change, have a crisis or create one,” Simon says. “A crisis forces you to rethink what has always been in your life so you can create new opportunities for your future. As we navigate these uncertain times, women can use them to rethink their own stories and to smash any myths that are holding them back from becoming who they want to become.”

Simon suggests a few steps women can get started:

  • Tell a story about who you are today. Draw a picture or create a list to show what you love and don’t love; the joys and challenges of your life now; your interests; and your dreams. “Put that picture or list where you can see it for a while as a reminder of who you are now,” Simon says.
  • Visualize yourself in the future. Think about what will make you become who you believe you can be. “Know what would make you happy and realize how you might be personally fulfilled,” Simon says. “Understand how you can be professionally accomplished, build a happy family, and enjoy the support of your friends and community. Know what matters to you and how you want your story to develop.”
  • Keep a diary. Research shows that people who keep diaries achieve their goals and do so with extraordinary results, far better than those who don’t keep diaries, Simon says. “That might seem strange, but it is easy enough to try,” she says. “Whether you do it online or on paper, keep your story coming, write it, and re-reread it. Let it help you embrace your new focus and belief that ‘yes, you can.’ ”
  • Stop your brain from undermining you. Every time you say, “No, that won’t work,” convert it to a “Yes, that’s a great idea.” “You can manage negative thoughts by simply thinking that you can,” she says.
  • Build up your idea bank. Research also shows that  the more ideas you have, the more likely you will have “big” ones, Simon says. She recommends writing them down in an idea book. “Try to stay focused on the vision you have for yourself as you build your idea bank,” Simon says.

“Remember that you are writing a new story, so don’t let your brain delete great ideas because they don’t fit into your current story,” Simon says. “Keep saying to yourself, ‘Yes, that’s a great idea.’ Pretty soon, you will achieve the goals that you aspire to all through your life’s journey.”

About Andi Simon

Andi Simon, Ph.D., author of the upcoming book Rethink: Smashing the Myths of Women in Business, is a corporate anthropologist and founder of Simon Associates Management Consultants. A trained practitioner in Blue Ocean Strategy®, Simon has conducted several hundred workshops and speeches on the topic as well as consulted with a wide range of clients across the globe. She also is the author of the award-winning book On the Brink: A Fresh Lens to Take Your Business to New Heights. Simon has a successful podcast, On the Brink with Andi Simon, that has more than 125,000 monthly listeners, and is ranked among the top 20 Futurist podcasts and top 200 business podcasts. In addition, Global Advisory Experts named Simons’ firm the Corporate Anthropology Consultancy Firm of the Year in New York – 2020. She has been on Good Morning, America and Bloomberg, and is widely published in the Washington Post, Los Angeles Times, Forbes, Business Week, Becker’s, and American Banker, among others. She has been a guest blogger for Forbes.com, Huffington Post, and Fierce Health.

VERIVERY by Taeon (CEO)at REELS Corporation for use by 360 Magazine

VERIVERY TOPS BILLBOARD CHARTS

In 2020, VERIVERY debuted on top of the Billboard’s World Digital Song Sales Chart with “G.B.T.B.”, the title track of their 5th EP, “FACE US.” “G.B.T.B.” is an acronym for “Go Beyond The Barrier,” showcasing VERIVERY’s hope that they can overcome any obstacles. The group is drawing attention as the new rising stars of K-pop with their impressive Billboard record that K-pop’s other leading artists have yet to achieve.

Forbes highlighted their latest two single release, SERIES ‘O’ [ROUND1: HALL], which features the tracks “Get Away” and “Numbness”. Through the interview with Forbes, they revealed that their universe is deepening and expanding. The music video is hot, filled with performances and moments that show the transformation of members throughout the party. It will be a matter of time before VERIVERY once again tops the Billboard chart.

‘Get Away’ – A tale about finding your true self and facing temptation. 

‘Get Away’ is a grand track that features reggae-pop, giving the song a fatal but dreamy atmosphere. In the video, an unknown presence in the dark invites VERIVERY to a crazy party. The members face inner darkness, not knowing what is going to happen.

VERIVERY’s sweet voices sounds as if they are trying to fight back against the darkness. Their angelic whispers makes it seem like they are trying to hide their black wings and stay innocent, but eventually they spread out their dark-black wings and fall into the crazy party scene. They want to get away, but feel as if they’re trapped and falling deep within a dream. Is this party a sweet apple, or a poisonous one? It’s a sweet temptation–just like the fruit of the Tree of Knowledge–but once you bite into the apple it awakens the inner devil.

VERIVERY’s outfits get even darker and showier as they transform from boys to men.

At the beginning of the music video, the boys wore casual sweaters, knits, and hoodies to express their pureness. Curious boys with casual outfits at a camping site find themselves in an unknown place after receiving a mysterious invitation to a party. They wake in another location with black suits, but change into striped suits and leather jackets after eating a suspicious well-prepared meal on the table. It’s as if they’re facing themselves, but in a different parallel world VERIVERY’s neat black suits, silver accessories, and dark smokey makeup at the end signify the changing of each members as they face the dark inside.

We should also pay attention to the costumes and accessories that change as VERIVERY’s emotion changes. Those who face their inner selves try to destroy each other in the chaos. The curious young boys are nowhere, only the men are standing at the end of the party.

Wonho illustration by Heather Skovlund for 360 Magazine

WONHO – LOVE SYNONYM #2: RIGHT FOR US

FEATURING “AIN’T ABOUT YOU (FEAT. KIIARA)” AND NEW SINGLE “LOSE”

WATCH THE VIDEO FOR “LOSE” HERE

Singer-Songwriter-Producer, Wonho, has released his highly anticipated solo mini album, Love Synonym #2: Right for Us [available HERE]. With the release of his album last September announcing the start of his solo career, this album is a continuation of his ‘Love Synonym’ series, and is meant to dive deeper into Wonho as an artist and continue to solidify his story. Wonho’s debut last year resonated with fans all around the world, with the album quickly climbing to No. 1 on the Worldwide iTunes Album Chart, and ranking high on the iTunes charts in 30 countries and on Billboard’s World Digital Song Sales Charts. On top of that, he wasted no time taking the U.S. Market by storm; receiving notable mentions from publications such as PAPER MagazineMTV NewsAccessiHeartTeen VogueRefinery29 and Rolling Stone who stated “Performed entirely in English, the sweeping, piano-driven ballad showcases Wonho’s delicate falsetto, as he sings about protecting a cherished love despite all costs.” Without having released any music yet this year, Forbes has already named Wonho as one of “The K-Pop Solo Stars Who Could Break In America In 2021.” 

Wonho is further exploring his range of artistry on this album by showcasing his songwriting and producing skills throughout multiple tracks. The focus track “Lose” depicts the story of a man who has overcome the trauma of parting, trying to get over the breakup to face and find his true self. With lyrics such as “Don’t wanna fight. Don’t wanna play. I can’t get over you. Just wanna watch. You leave tonight. It’s something I can’t do. Cos baby in your game of love. I know I’m gonna lose,” Wonho showcases his ability to embrace and exhibit the emotions he’s holding inside. In addition, the music video, using implicit fantasy elements, strongly conveys a man’s struggle to escape his nightmare. Watch the video HERE.

For the first time during his solo career, Wonho is teaming up with an American artist on the track “Ain’t About You.” Multi-platinum singer-songwriter, KIIARA’s smooth vocals blend seamlessly with Wonho’s, creating an addictive bittersweet breakup track; “You’re so hard to resist. A love that hurt like this. I wish it wasn’t hell. To love you more than you love yourself.” Co-written by Wonho, “WENEED,” was inspired by the official fandom name ‘WENEE,’ containing sincerity for his fans and the people around him who have sent him infinite support and affection. Wonho spills out his true emotions through his heartfelt delivery; “Even in the darkest times. You were the one pulling me through. When I’m back on the stage. Can you wave your hands again. This song’s for you. Can you sing it along.” “Flash” is a song that expresses the feelings of letting someone go, comparing a light to his yearning and longing. The lyrics emphasize a dreamy and sentimental feeling by comparing the flickering lights of a lighthouse to the characteristics of the other person’s emotions; which illuminate the darkness and are later recognized by someone who is having a hard time. By exploring many different genres throughout this mini album, Wonho has a song for every listener.

MORE INFO:

In 2019, Wonho’s fans tirelessly put forth efforts to show him he wasn’t alone in this world. Their message was heard globally, loud and clear; with multiple hashtags trending worldwide on Twitter for weeks on end, online petitions garnering half a million signatures, fans taking it to the streets of Seoul writing supportive notes, and putting up billboards in Times Square, and all over the world to support him. As told by Forbes, “...fans had shown their support for the artist by sending the 2017 song “From Zero,” a special track co-written and producer by Wonho, to No. 1 on Billboard’s World Digital Song Sales chart to help prove his continuing viability and commercial appeal as an artist, songwriter and producer.” After months of fan-driven fundraisers, online petitions, Twitter trends and love; Wonho is thrilled to be giving back to his fans. His fanbase’s new name is WENEE; and the fandom name represents the special bond between Wonho and his fans, who have been there to support him through the ups and downs. Wonho sings passionately on the track “Coz anytime or place I’d be your shield, when you feel, like you ain’t got the fight in you to heal.”

The release of “Losing You” in 2020 was Wonho’s first step forward in his solo career after signing with Highline Entertainment, which is a subsidiary label of Starship Entertainment, the home to K-pop groups including Monsta X, WJSN and CRAVITY, and houses viral EDM star DJ SODA [Read HERE on Forbes]. Back in April 2020, Wonho also joined Maverick Management’s roster, alongside Britney Spears, Madonna, The Weeknd, and many more big-name artists.

Wonho shot by Christina Santamaria for 360 MagazineWonho by Christina Santamaria for 360 MagazineWonho by Christina Santamaria for 360 Magazine

What Keeps Men From Picking Up Their Household Mess

By Andi Simon, Ph.D.

For many of the women I have been working with during the pandemic crisis, the biggest complaint has been: “Why doesn’t my husband help pick up the mess?” “Don’t men even see the toys all around them, the dishes in the sink, the clothes needing folding?” And when they finally lend a hand, it is hardly neat or “the way I would have done it.”

Well, ladies and gentlemen, the cultural dilemma is upon us, exaggerated during the current stay-at-home, work remotely era caused by COVID-19. What wives, moms and girlfriends might have silently dealt with in the past has become a major issue when both partners are now at home together. Differences are more apparent, irritations closer to the surface.

As an anthropologist, and a wife, and a mother, I know all too well how difficult it is to change habits in adults. Once we learn our habits, they take over and drive us. My husband is a wonderful teammate but loves to leave his cabinets open, his clothes folded but not so smoothly, and his office … well let’s not discuss that. I do confess, at times my office is as big a mess as his, which is OK as long as each of us stick to our own disorderly worlds.

In a recent Atlantic article, “The Myth That Gets Men Out of Doing Chores,” Joe Pinsker writes about how these male-female differences originate partly from how boys and girls are raised, and partly from how men and women simply see things through different lenses. While some contend that boys are naturally messier than girls, there is little research to support that. If anything, boys and girls (and men and women) can both make a mess in the bedroom, the bathroom and the kitchen — indeed, making messes comes naturally to both sexes. Cleaning them up, less so.

The issue is that boys and girls are taught differently what it means to be “neat” or “messy.” There is nothing inherent in either of those words. We learn what they mean as we grow up, and the ones teaching us play a major role in handing down those cultural values about what we should or should not be doing to create order in our lives.

What matters is how we “believe” that we as humans create and manage our physical and social order, at home and outside of it. Watch boys at a sporting event — lacrosse, soccer or anything — and they learn quickly how to pack their sports bag and keep their equipment in good shape (or be yelled at by the coach). Girls do the same. In the office, men can be very neat, or not. I have had bosses with horrible office order and others who were so immaculate that it was weird. The same has been true of male or female bosses.

The question then becomes: Why do we think women should pick up the toys, fold the laundry and close the cabinets, while the guys watch their ballgame and drink their beer with a mess all around them? Humans are culture-creating and culture-living creatures. As children, we learn from parents, teachers and friends what is valued and for whom. If boys are allowed to have messy rooms because, well, they are just boys, they will quickly learn that boys can be messy, ignore the mess, and not be expected to restore order to it. If girls are told that they must clean up their rooms before they can do something they want, they learn other rules and other norms.

It really is true that what we see our mothers and fathers, and others, doing is what we mimic, in business and in life. It becomes embedded in our psyches, sometimes without our even realizing. If girls and women repeatedly hear that cleanliness is next to godliness, they will learn that making the bed, tidying the kitchen and cleaning up messes are positive reinforcements for how good and acceptable they are. Boys don’t learn this. In fact, if a boy neatly picks up his toys and then is called a sissy, what value judgement is that passing along?

So then, if you have a man in the house who repeatedly ignores the kids’ mess on the floor, think hard about what both of you are teaching your kids about personal responsibility, beyond neatness and messiness. You might during this at-home period be able to change their futures by providing them with unbiased values and beliefs about what men and women see and do. Remember, it is easier to change the kids than the guy. I would advise, though, that in your corrections to the latter, tread carefully but quickly, before the opportunity evaporates.

About Andi Simon

Andi Simon, Ph.D., author of the book Rethink: Smashing the Myths of Women in Business, is a corporate anthropologist and founder of Simon Associates Management Consultants. A trained practitioner in Blue Ocean Strategy®, Simon has conducted several hundred workshops and speeches on the topic as well as consulted with a wide range of clients across the globe. She also is the author of the award-winning book On the Brink: A Fresh Lens to Take Your Business to New Heights. Simon has a successful podcast, On the Brink with Andi Simon, that has more than 125,000 monthly listeners, and is ranked among the top 20 Futurist podcasts and top 200 business podcasts. In addition, Global Advisory Experts named Simons’ firm the Corporate Anthropology Consultancy Firm of the Year in New York – 2020. She has been on Good Morning, America and Bloomberg, and is widely published in the Washington Post, Los Angeles Times, Forbes, Business Week, Becker’s, and American Banker, among others. She has been a guest blogger for Forbes.com, Huffington Post, and Fierce Health.

360 football illustration for sports articles

THE ECONOMIC SUPER BOWL

In midst of a pandemic that devastated society, including sports, the total wealth of 64 billionaire sports barons shot up by $98.5 billion, or over 30 percent. Taxpayer subsidies for stadiums of 26 billionaire team owners have totaled $9 billion since 1990, with most in last decade.

We won’t know the winner of this year’s Super Bowl till Sunday, but we already know the big winners in our COVID-ravaged economy include dozens of billionaire sports barons.

On the eve of the big game, and after 10 plus months of the pandemic, 64 billionaire owners of major league sports franchises—including the AFC champion Kansas City Chiefs’ Hunt family and the NFC champion Tampa Bay Buccaneers’ Glazer family—have enjoyed a $98.5 billion rise in their collective net worth, a 30 percent increase, as millions of fans have fallen ill, lost jobs, neared eviction, gone hungry and died due to the coronavirus.

The 64 billionaires, who together own or co-own 68 professional sports franchises, had a combined wealth of $426 billion on January 29, 2021. This number is up from $326 billion on March 18, 2020, roughly since the start of the pandemic lockdowns, according to a new analysis by the Institute for Policy Studies (IPS) and Americans for Tax Fairness (ATF), and data analysis from Forbes and Wealth-X. (Note: The increase in total billionaire wealth from March to January was $100 billion, but has been adjusted to $98.5 billion because an additional billionaire reached that status in January 2021.)

The sports billionaires’ private gain in the midst of so much public pain is particularly galling since many of their franchises have been the beneficiaries of taxpayer handouts. Over the past several decades, according to data maintained by Field of Schemes, 28 pro sports teams owned by 26 billionaires have received $9 billion in taxpayer subsidies (see Table here) to help build or update stadiums and arenas and make other investments that billionaires could presumably afford on their own. These publicly subsidized team owners have seen their wealth increase $45 billion since mid-March.

For the full report go to Pandemic Super Bowl 2021: Billionaires Win, We Lose.

Over the past five years—when a lot of sweetheart tax deals were cut—the collective wealth of sports billionaires shot up $165 billion, or 67 percent. Their combined wealth of $247 billion in March 2016 had grown to $426 billion by January 29 of this year. (Nine billionaires on the list in 2021 were not billionaires in 2016, accounting for the $14 billion discrepancy.)

The $98.5 billion wealth gain by 64 sports franchise billionaires since March 2020 could pay for:

  • A stimulus check of $1,400 for over 70 million Americans—almost half of the 153 million people who likely will be eligible under the pandemic relief plan proposed by President Biden based on the 2020 stimulus payments.
  • More than one-third of the $290 billion cost of providing $400-a-week supplements to existing unemployment benefits through September, as proposed by President Biden in his COVID rescue plan.

March 18 is used as the unofficial beginning of the pandemic because by then most federal and state economic restrictions responding to the virus were in place. Moreover, March 18 was also the date on which Forbes estimated billionaire wealth for the 2020 version of its annual report. That report provided a detailed baseline that ATF and IPS have been comparing periodically with real-time data from the Forbes website. [See past reports here] This methodology has been favorably reviewed by PolitiFact.

Last March is when the nation’s emergency response to the deadly virus threw professional sports, along with the rest of society, into turmoil. Thousands of low-paid stadium and arena workers lost their jobs as sports seasons were cancelled and curtailed.

The long winning streak of America’s billionaire sports owners is just part of the dominance of a national dynasty of 661 U.S. billionaires whose wealth has grown by $1.2 trillion, or 40%, during the pandemic. The number has climbed from $2.9 trillion on March 18 to $4.13 trillion, as of January 29, 2021 (see link here for all data).

Though only one of their teams will lift the Lombardi Trophy as Super Bowl champs this year, both the Chiefs’ Hunt family—specifically, Ray Lee Hunt and W. Herbert Hunt—and the Bucs’ Glazer family will continue their long reigns among the nation’s biggest economic winners. The Hunts’ net worth is estimated by Forbes at $6.3 billion, up $482 million during the COVID crisis. The Chiefs received $250 million in taxpayer subsidies for stadium renovations in 2006.

The Buc’s Glazer family is worth an estimated $1.7 billion, according to Wealth-X. Taxpayers provided a total of $218 million in subsidies for construction and renovation of the Buccaneer stadium in 1998 and 2015.

Sixty U.S. billionaires—roughly one in ten of the country’s 661 total billionaires—own one or more major league professional sports teams in the National Football League (NFL), National Basketball Association (NBA), Major League Baseball (MBL), and National Hockey League (NHL). Four other billionaires—three from Canada and one from Germany—own four additional teams.

“These billionaire sports barons have seen their wealth rise as their fans lose their lives, livelihoods, health and wealth,” said Chuck Collins, director of the Institute for Policy Studies, Program on Inequality.  “As a country, we should be investigating pandemic profiteering and taxing windfall gains during these extraordinary times.”

“The Super Bowl brings the whole nation together, but we have not come together as a country to beat the pandemic,” said Americans for Tax Fairness executive director Frank Clemente. “Billionaire sports owners have continued their long winning streak of ever-growing fortunes while fans at home are losing their lives and livelihoods. Real team work would require billionaires to pay their fair share of taxes so we can get the whole U.S. back to its winning ways.”

“Every year, wealthy sports team owners rake in more than two billion dollars in taxpayer subsidies for new stadiums and arenas that, according to innumerable economic studies, provide zero measurable economic benefit to the public,” said Neil DeMause, co-author of Field of Schemes: How the Great Stadium Swindle Turns Public Money Into Private Profit, and editor of the stadium news site. “Letting billionaire owners socialize their costs and privatize their profits has allowed the rich to get richer, while starving local governments of revenue to pay for schools and other genuine public needs.”

Tax reform that ensures the wealthy pay their fair share—the principle President Biden’s tax plan is built on—would transform a good chunk of those huge billionaire gains into public revenue to help heal a hurting nation. But getting at that big boost in billionaire fortunes is not as simple as raising tax rates: tax rules let the rich delay, diminish and even ultimately avoid any tax on the growth in their wealth. What’s needed is structural change to how wealth is taxed.

The most direct approach is an annual wealth tax on the biggest fortunes, proposed by Senators Elizabeth Warren and Bernie Sanders, among others. Another option is the annual taxation of investment gains on stocks and other tradable assets, an idea advanced by the new Senate Finance Committee chair, Ron Wyden. Even under the current discounted tax rates for investment income, if Wyden’s plan had been in effect in 2020 America’s billionaire sports owners would be paying billions of dollars in extra taxes this spring thanks to their gargantuan pandemic profits last year. Another reform is needed to significantly strengthen the estate tax so that the riches accumulated by these ultra-wealthy sports franchise owners pay their fair share of taxes when these dynasties get passed onto their heirs.

Kael Felix illustrates Joe Biden for 360 Magazine

BIDEN WINS

By Payton Saso

THE OVERWHELMING UNCERTAINTIES

As four years of uncertainty may be coming to a close, there is not the expected sigh of relief we could hope for. As election day takes way, it is hard to ignore all the uncertainties that still loom over America. 

The nation we are living in is something many young voters have not seen before. As big cities board up businesses in preparation for the salient threat of riots and protests following election results, COVID-19 cases are on the rise and the fear amongst Americans is palpable.

Reuters analysis of state and county reports showed that COVID cases have risen 18% and deaths have risen 3%. While 3% may not seem exponential, “Nationally, nearly 5,800 people died of the virus in the seven days ended Nov. 1,” they reported.

The election follows the week in which Amy Coney Barrett [ACB] was confirmed to serve her life-long term on the Supreme Court, making some voters even more concerned regarding the outcome of the election and the fate of their human rights.

In its first hearing since ACB was confirmed, the Court will start its hearings in a case regarding the Catholic Social Services in Pennsylvania. The case follows the suing of the City of Philadelphia by the CSS for not allowing children to be placed in foster care with organizations like the CSS who exclude same-sex couples from being fosters, according to the local news stations NBC 10 Philadelphia.

Originally facing the Supreme Court’s docket when the late Justice Ginsburg still served, the new outcome of the case is truly up in the air. With the addition of ACB, who is conservatively Catholic, it is unclear whether she will side with the Archdiocese of Philadelphia in their claims that their First Amendment rights are being violated. 

It is clear that how ACB votes on this case, will set the precedent for her term and quite frankly how she will vote if President Trump objects to the outcome of the election. 

Which is an evident possibility, seeing that the G.O.P. in Texas has already attempted to get 127,000 votes from Harris County. The county, which is largely Democratic, instilled drive-through ballot drop locations throughout by Harris County clerk, Chris Hollins, the New York Times stated.

Though the case was rejected by the Texas Supreme Court, those in the lawsuit claimed that the locations were illegal and favored Democrats. However, it seems that this is a tactic of voter suppression in hopes to throw out Democratic votes. 

Similarly in Pennsylvania, the Supreme Court ruled last month to reject “Republican request for a stay on a Pennsylvania Supreme Court decision that would allow ballots to be counted up to three days after Election Day,” Politico reported.

This attempted block is another attempt to threaten the validity of mail-in votes to which President Trump has been very vocal about opposing. The use of these absentee ballots; however, are just to yield some relief on the growing pandemic numbers to ease traffic at the polls today.

As of 12:17 EST, the US Elections Project gathered data that 100,611,070 Americans have voted early. With a mass number of votes already cast, it is clear this election will be historical in every way.

BIDEN CAMPAIGN WON’T STOP

Regularly dressed to the nines with his signature Aviator sunglasses, Biden has had to add another signature accessory to this fit, a mask. But that hasn’t stopped him from emanating the vibe of the cool Uncle Joe. His recent Twitter post for one of his campaign videos shows that.

Using the iconic Eminem song “Lose Yourself” from the “Eight Mile” soundtrack, the black and white video was Tweeted alongside the words by Biden, “ We have one shot. One Opportunity. One moment. Don’t miss the chance — vote.”

Appealing to those of all ages, “Lose Yourself” has become a song of triumph relished by sports teams, boxers and just the average joe in need of a confidence boots. The Grammy Award winning song was licensed to the Biden-Harris campaign which, Variety says, is a song rarely allowed by Eminem to be used.

It is no surprise that Eminem is one of the celebrities endorsing the Biden-Harris ticket. In 2017, he rapped a freestyle for the BET Awards that tore into Trump as president and as a human. He then released an album entitled “Revival” that year in which he continued to criticize Trump more. His song “Framed” on the track led the Secret Service to investigate the rapper.

While the Secret Service would not confirm this, “documents obtained through a Freedom of Information Act request confirmed that they did,” Rolling Stone claimed.

However, “One Shot,” regardless of the artist’s own personal hits at the President, encompasses the feeling of the American people in this time. The video depicts everyday people, our essential workers, nurses, doctors, those waiting in the long lines of the polls, and every other demographic Biden says he will work for. 

The power and importance of this election reigns true with the words ‘we only got one shot’ to make a promising change in America.

TRUMP PROMOTES THE AMERICAN DREAM

With the final push for votes occurring, both candidates are Tweeting out new campaign videos in hopes to still appeal to undecided voters.

President Trump Tweeted today a video that appeals to the masses who are patriotic and believe American is the greatest country. Playing to the idea of the American Dream, which he has made a prominent stance on, the video shows masses of Americans rallying together waving Trump flags and signs.

The images of American Flag sliced into images of the Armed Forces cheering and standing at attention, are overlaid with the words of President Trump. “America is the place where anything can happen. America is the place anyone can rise,” Trump asserts. 

The immensely patriotic video comes the day after President Trump announced his American Dream Plan. “President Trump recently released the American Dream Plan to reaffirm his commitment to fight for Hispanic prosperity and opportunity for all to achieve the American Dream,” The White House announced.

This final appeal to voters goes along with Trump’s campaign slogan, “Make America Great Again” where he says he will create a country completely independent of China, create job opportunities and create an environment where the American Dream can be accomplished. 

This video is in contrast to his opponent’s, Joe Biden, recent campaign video by using B-roll and music that is simple and might appeal to older voters, while Biden’s campaign used music and video editing that might appeal better to younger voters. 

Regardless of who the candidates are trying to appeal to, hopefully these campaign videos help some undecided voters to choose who they believe is best for our country.

ELECTION PREDICTIONS

The results of this election are being awaited anxiously by Americans everywhere. Because of so many people using mail-in ballots, the final results may take longer than usual to be confirmed. Many predictions have been made about who the winner may be.

Primary Model predicts that Trump will take the win and gives him a 91% chance of doing so. They predict Trump will get 362 electoral votes while Biden will only get 176. Since Primary Model was created in 1996, they have correctly predicted all but one presidential election.

It is predicted that voter turnout will surge this year. “The intensity of the electorate is without recent precedent,” Tom Bonier, the CEO of TargetSmart, a Democratic political-data firm, said in The Atlantic. It was predicted last year that 150 million Americans would vote this fall.

A historian and professor at American University, Allan Litchman, has predicted every presidential election correctly since 1984. Litchman explained on Fox News his prediction model called “The 13 Keys to the White House.” He explained Trump was in the lead to win until the coronavirus pandemic hit America.

“My prediction is that Donald Trump will become the first sitting president since George H. W. Bush in 1992 to lose a reelection bid, and Joe Biden will become the next president of the United States,” said Litchman.

Henry Olson also gave his prediction in The Washington Post. He predicted that Biden would win the popular vote with 52.5% of votes. He believes Biden will conclude with 350 electoral college votes while Trump will conclude with only 188.

AFTER ELECTION NIGHT

It is no surprise that results for this election are taking longer to finalize. With more early and mail-in votes due to the pandemic, some states are still counting ballots on November 4.

As of 3 pm on November 4, Biden is in the lead with 237 electoral college votes compared to the 213 Trump has. Six states are still undecided including Alaska, Nevada, Michigan, Pennsylvania, North Carolina and Georgia. Michigan and Nevada are currently leaning blue while the other remaining states lean red.

President Donald Trump seems dissatisfied with the fact that ballots are still being counted. “We are up BIG, but they are trying to STEAL the Election. We will never let them do it. Votes cannot be cast after the Polls are closed!” tweeted Trump at 12:49 am on November 4.

He also tweeted, “They are finding Biden votes all over the place — in Pennsylvania, Wisconsin, and Michigan. So bad for our Country!” The Trump campaign has also filed a lawsuit to stop vote counting in Michigan.

Candidate Joe Biden has been more positive on his Twitter account. At 1:03 am on November 4 he tweeted, “We feel good about where we are. We believe we are on track to win this election.”

THE WAIT FOR A WINNER

As of Friday morning, Biden has taken over Georgia and Pennsylvania. Georgia is 99% reporting and Biden is winning with just over 1,000 votes. Pennsylvania is 98% reporting and Biden has a slightly greater advantage than in Georgia.

The last time a Democrat won Georgia was almost 30 years ago when Bill Clinton won over his opponent George H.W. Bush in 1992. Georgia’s secretary of state, Brad Raffensperger, has already announced there would be a recount due to the small margin.

Nevada is at 84% reporting and Biden remains in the lead. Trump is leading in North Carolina and Alaska.

The Trump campaign continues to protest the results. They plan to sue in Nevada and claim that votes are being counted for people that have moved or died. According to Daily Mail, Trump plans to sue every battleground state that Biden has won.

This election is being compared to the 2000 election where George W. Bush and Al Gore had an incredibly tight race. This election lead to the supreme court decision to stop the recount known as Bush v. Gore. Bush ended up winning Florida by only 537 votes. In 2000 the winner wasn’t determined until December 12th and Americans everywhere are strapping in for what could be another long battle for the election results.

Joe Biden has passed 270 votes as of Saturday morning. Vice Presidential candidate Kamala Harris posted on her Twitter in celebration.

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