Colombian winger scores on his competitive debut for Bayern Munich in a victory over Stuttgart in the German Supercup.
Luis Diaz, making his Bayern Munich debut, and Harry Kane scored for the reigning Bundesliga champions in a 2-1 away victory against Stuttgart in the German Supercup.
The match, which opens the German season with the league and cup winners facing off, was held for the first time since it was renamed for football legend Franz Beckenbauer, who died in 2024.
A year into their attacking partnership, Michael Olise and Kane were again Bayern’s most dangerous pairing, combining for the opener with 18 minutes played.
Off balance and falling, Kane collected Olise’s pass and hit a low shot across the grass and into the bottom corner for his 86th goal in his 97th Bayern appearance.
Pushed on by a 60,000-strong home crowd, Stuttgart went looking for an equaliser late in the second half, but Bayern broke through on the counter, with Diaz heading in from close range in the 77th minute.
Diaz – who joined Bayern from Liverpool last month and remains the club’s biggest deal of the offseason – ran to the corner post and sat on the grass, mimicking former Liverpool teammate Diogo Jota’s video-game celebration.
It was the latest tribute for Portugal winger Jota, who died in a car accident in July.
Stuttgart pulled a goal back through Jamie Leweling in stoppage time.
The win netted Kane a second team trophy of his career after the 32-year-old broke his duck to win the Bundesliga last season.
Praising his charges for a “deserved win”, Bayern captain Joshua Kimmich said the victory would set the tone for the season.
“We wanted to show everyone that we’re here. Wins and titles are not a given – we have to appreciate them,” Kimmich told Germany’s Sat 1 network.
Bayern open the Bundesliga season on Friday at home against Leipzig, while Stuttgart face Union Berlin in the German capital a day later.
Diaz celebrates scoring his first goal for Bayern Munich by mimicking former Liverpool teammate Diogo Jota’s video-game celebration [Heiko Becker/Reuters]
China’s Wanbo has officially launched the Vali 1, a portable Full HD smart projector with an integrated gimbal stand that outshines its peers for “best-in-class sound and vision performance.”
Shenzhen-based smart projector outfit Wanbo was established in 2016, and released its first DLP model the following year. The company now has a bunch of wallet-friendly projectors in its lineup, including the Vali 1 – which was revealed earlier this year, and is now officially on sale globally.
Wanbo describes this model as being portable, but it lacks a built-in battery so users will need to factor in a wall outlet when deciding on placement. It weighs in at 2.8 kg (6.17 lb), and shapes up to 254 x 188.8 x 227.6-mm dimensions (100 x 74 x 89.6 in) – so isn’t quite as easy to manage as, say, Dangbei’s Freedo but should still be a fairly painless heft.
The Vali 1 put out 900 lumens and 1080p visuals at up to 130 diagonal inches
Wanbo
Like the Freedo, the Vali 1 sits on its own gimbal stand that not only pivots over 200 degrees for flexible picture positioning, but also hosts the power port so that cabling isn’t hanging awkwardly from the back of the main unit during streaming operation. Sadly, the same can’t be said for HDMI and USB connections, which Wanbo has plonked at the top rear of the projector unit – a missed opportunity there perhaps.
The LED light source and LCD projection engine with a three-element glass lens make for 900 ANSI lumens of brightness and native 1080p visuals. The company claims that users will be able to enjoy “cinema-quality visuals during the day.” But realistically, that brightness output will see this model limited to after-dark watch parties or shadowy nooks if you want to avoid washout. That said, it is a lot more capable than others in the portable space – including Yaber’s T2 Plus GTV, Dangbei’s N2 and the M1 Max from ViewSonic.
It features a throw ratio of 1.35:1 for visuals between 40 and 130 inches, which means the unit will need to be more than 12 ft (3.9 m) away from a vertical viewing surface to produce that big rectangle. The Vali 1 is also designed to make setup a breeze courtesy of autofocus, auto keystone correction, screen alignment and image resizing to avoid obstacles. Contrast comes in at 3,000:1, but HDR content is not supported.
The Vali 1 features an integrated gimbal stand for 200 degrees of positioning ease, with help from auto adjustment algorithms
Wanbo
This smart projector runs Android TV 11, which allows access to entertainment apps like certified Netflix, Disney+, HBO Max and YouTube over dual-band Wi-Fi, as well as potentially thousands of apps via the Google Play store. Voice search and control are available too, along with Chromecast screen mirroring. And if you’re constantly misplacing the remote, you’ll doubtless find the slot space in the gimbal base handy for safely stowing the remote between uses.
The Vali 1 rocks a 12-watt full-range sound system with a 500cc sound chamber for the promise of “clear, immersive and high-quality audio,” plus there’s a headphone jack for private screenings. A low-latency gaming mode is said to cater for high-refresh responsive gameplay, though input lag figures haven’t been shared. Astro animations and tranquil scenes can help set the mood in the room via an Artistic Ambient Wall feature. And the unit sports a large cooling fan that’s been optimized for quiet operation, which can get as low as 28 dB/m.
It’s available now for US$319 directly from Wanbo, though it’s also on sale through Amazon and others.
Canada’s government forced Air Canada and its striking flight attendants back to work and into arbitration Saturday after a work stoppage stranded more than 100,000 travelers around the world during the peak summer travel season.
Federal Jobs Minister Patty Hajdu said now is not the time to take risks with the economy, noting the unprecedented tariffsthe U.S. has imposed on Canada. The intervention means the 10,000 flight attendants will return to work soon.
The government’s action came less than 12 hours after workers walked off the job.
“The talks broke down. It is clear that the parties are not any closer to resolving some of the key issues that remain and they will need help with the arbitrator,” Hajdu said.
Hajdu said the full resumption of services could take days, noting it is up to the Canada Industrial Relations Board. Meanwhile, Wesley Lesosky, president of the Air Canada Component of the CUPE union, accused the government of violating the flight attendants’ constitutional right to strike — and decried Hajdu for only waiting hours to intervene.
“The Liberal government is rewarding Air Canada’s refusal to negotiate fairly by giving them exactly what they wanted,” Lesosky said.
Air Canada did not immediately have additional comments when reached Saturday afternoon. But Air Canada Chief Operating Officer Mark Nasr previously said it could take up to a week to fully restart operations. It’s likely that travelers will continue to see disruptions in the coming days.
Existing agreement will stay in place through arbitration
The shutdown of Canada’s largest airline early Saturday is impacting about 130,000 people a day, and some 25,000 Canadians may be stranded. Air Canada operates around 700 flights per day.
According to numbers from aviation analytics provider Cirium, Air Canada had canceled a total of 671 flights by Saturday afternoon — following 199 on Friday. And another 96 flights scheduled for Sunday were already suspended.
Hajdu ordered the Canada Industrial Relations Board to extend the term of the existing collective agreement until a new one is determined by the arbitrator.
“Canadians rely on air travel every day, and its importance cannot be understated,” she said.
Union spokesman Hugh Pouliot didn’t immediately know what day workers would return to work. “We’re on the picket lines until further notice,” he said.
The bitter contract fight escalated Friday as the union turned down Air Canada’s prior request to enter into government-directed arbitration, which allows a third-party mediator to decide the terms of a new contract.
‘Such little progress has been made’
Flight attendants walked off the job around 1 a.m. EDT on Saturday. Around the same time, Air Canada said it would begin locking flight attendants out of airports.
Ian Lee, an associate professor at Carleton University’s Sprott School of Business, earlier noted the government repeatedly intervenes in transportation strikes.
“They will intervene to bring the strike to an end. Why? Because it has happened 45 times from 1950 until now,” Lee said. “It is all because of the incredible dependency of Canadians.”
Last year, the government forced the country’s two major railroads into arbitration with their labor union during a work stoppage. The union for the rail workers is suing, arguing the government is removing a union’s leverage in negotiations.
The Business Council of Canada had urged the government to impose binding arbitration in this case, too. And the Canadian Chamber of Commerce welcomed the intervention.
“With valuable cargo grounded and passengers stranded, the government made the right decision to refer the two sides to binding arbitration,” said Matthew Holmes, the executive vice president for the Chamber of Commerce — adding that “close to a million Canadians and international visitors could be impacted” if it takes Air Canada a week to be fully operational again.
Hajdu maintained that her Liberal government is not anti-union, saying it is clear the two sides are at an impasse.
Passengers whose flights are impacted will be eligible to request a full refund on the airline’s website or mobile app, according to Air Canada.
The airline said it would also offer alternative travel options through other Canadian and foreign airlines when possible. Still, it warned that it could not guarantee immediate rebooking because flights on other airlines are already full “due to the summer travel peak.”
Many travelers expressed frustration over Air Canada’s response to the strike.
Jean‐Nicolas Reyt, 42, said he had heard little from Air Canada just hours before his upcoming flight from France scheduled for Sunday.
“What’s stressful is to not hear anything from Air Canada,” said Reyt, who is trying to return to Montreal, where he is an associate professor of organizational behavior at McGill University. He said he only received one email from the airline on Thursday warning of potential strike disruptions, but had no further information as of Saturday evening in Cannes, where he was visiting family.
Reyt assumes his upcoming flight could be canceled — much like the scores of other lengthy disruptions this weekend. “I’m just very surprised that Air Canada let it go this far,” he said. “It’s really a bit disheartening that they fly you somewhere abroad and then they just don’t fly you back.”
Jennifer MacDonald, of Halifax, Nova Scotia, expressed similar frustration. She has been trying to help her brother and cousin get home to Edmonton, Alberta since the second leg of their Air Canada trip was canceled during what was supposed to be a 1-hour layover in Montreal on Friday night.
The two had to pay $300 out of their own pocket for a hotel, MacDonald said. All Saturday morning, they tried to look for rebooking options, but everything was sold out, she added. Eventually, they opted to book a new flight for Aug. 22 out of Halifax, with another family member volunteering to make an eight-hour drive to pick them up in Montreal and bring them back east on Saturday.
“It will be a multiday ordeal and a multi thousand dollar trip,” MacDonald said. But as stressful as the disruptions have been, she added that her family stands in solidarity with the flight attendants. “We hope that Air Canada lifts the lockout and negotiates fairly.”
Following the news of the Canadian government forcing arbitration on Saturday, Reyt also expressed concern for Air Canada’s flight attendants. “I think the flight attendants are making some reasonable arguments,” he said, adding that he hopes the intervention isn’t “a way just to silence them.”
Sides are far apart on pay
Air Canada and the Canadian Union of Public Employees have been in contract talks for about eight months, but they have yet to reach a tentative deal.
Both sides say they remain far apart on the issue of pay and the unpaid work flight attendants do when planes aren’t in the air.
“We are heartbroken for our passengers. Nobody wants to see Canadians stranded or anxious about their travel plans but we cannot work for free,” Natasha Stea, an Air Canada flight attendant and local union president, said before the government intervention was announced.
The attendants are about 70% women. Stea said Air Canada pilots, who are male dominated, received a significant raise last year and questioned whether they are getting fair treatment.
The airline’s latest offer included a 38% increase in total compensation, including benefits and pensions over four years, that it said “would have made our flight attendants the best compensated in Canada.”
But the union pushed back, saying the proposed 8% raise in the first year didn’t go far enough because of inflation.
Ukrainian President Volodymyr Zelensky has said that Russia’s refusal to agree to a ceasefire is complicating efforts to end the war.
“We see that Russia rebuffs numerous calls for a ceasefire and has not yet determined when it will stop the killing. This complicates the situation,” he said in a statement on X.
On Monday, the Ukrainian leader will travel to Washington DC, where US President Donald Trump has said he will urge Zelensky to agree to a peace deal.
Trump has said he wants to bypass a ceasefire in Ukraine to move directly to a permanent peace agreement after his meeting with Russian President Vladimir Putin.
In a major shift of position, the US president said on Truth Social following Friday’s summit that this would be “the best way to end the horrific war between Russia and Ukraine”, adding ceasefires often “do not hold up”.
Following a phone call with Trump after the summit, Zelensky called for a real, lasting peace, while adding that “the fire must cease” and killings stop.
In his later statement on social media Zelensky outlined his requirements for “a truly sustainable and reliable peace” with Moscow, including a “credible security guarantee” and the return of children he says were “abducted from occupied territories” by the Kremlin.
Watch: How the Trump-Putin summit unfolded… in under 2 minutes
Trump’s comments indicate a dramatic shift in his position on how to end the war, having said only on Friday ahead of the summit that he wanted a ceasefire “rapidly”.
Ukraine’s main demand has been a quick ceasefire before talks about a longer-term settlement, and Trump reportedly told European leaders beforehand that his goal for the summit was to obtain a ceasefire deal.
Meanwhile, Putin reportedly presented Trump a peace offer that would require Ukraine to withdraw from the Donetsk region of the Donbas, in return for Russia freezing the front lines in Zaporizhzhia and Kherson.
Russia illegally annexed Crimea from Ukraine in 2014, then launched a full-scale invasion of the country eight years later. It claims the Donbas as Russian territory and controls most of Luhansk and about 70% of Donetsk.
The US president, who has previously said any peace deal would involve “some swapping of territories”, is said to have relayed the offer to Zelensky in the call following the summit.
Just days ago, Ukraine’s president ruled out ceding control of the Donbas – made up the regions of Luhansk and Donetsk – saying it could be used as a springboard for future Russian attacks.
The BBC’s US partner CBS has reported, citing diplomatic sources, that European diplomats were concerned Trump may try to pressure Zelensky on Monday into agreeing to deal terms he and Putin may have discussed at the summit.
CBS quotes sources as saying that Trump told European leaders in a call after the summit that Putin would make “some concessions”, but failed to specify what they were.
In an interview with Fox News following Friday’s summit, Trump was asked what advice he has for the Ukrainian leader, to which he responded by saying “make a deal”.
“Russia’s a very big power and they’re not,” he added.
Getty Images
Ahead of Friday’s summit, German Chancellor Friedrich Merz hosted a virtual meeting with Zelensky, other European leaders and Trump
Trump had previously threatened “very severe consequences” if Putin did not agree to end the war, last month setting a deadline for Moscow to reach a ceasefire or face tough new sanctions, including secondary tariffs.
Little was announced by way of an agreement by either president following Friday’s summit, but Trump insisted progress had been made.
On Saturday, Putin described the summit as “very useful” and said he had been able “set out our position” to Trump.
“We had the opportunity, which we did, to talk about the genesis, about the causes of this crisis. It is the elimination of these root causes that should be the basis for settlement,” the Russian president said.
Later, a senior Russian diplomat told BBC Newshour that the summit in Alaska was “a very important building block for further efforts” to end the war.
Russia’s First Deputy Permanent Representative to the United Nations, Dmitry Polyanskiy, said that everybody who wants peace “should be satisfied by the outcome”. He wouldn’t say if Putin should now meet with Zelensky.
Meanwhile, the “coalition of the willing” – a group of countries that have pledged to strengthen support for Ukraine that includes the UK, France, and Germany – will hold a call on Sunday afternoon before Zelensky’s visit to the White House on Monday.
Getty Images
Starmer hosted Zelensky at Downing Street ahead of the US-Russia summit in Alaska, with the pair agreeing there was “a powerful sense of unity and a strong resolve to achieve a just and lasting peace in Ukraine”
A group of European leaders, including French President Emmanuel Macron, German Chancellor Friedrich Merz and European Commission President Ursula von der Leyen, said “the next step must now be further talks including President Zelensky”.
The leaders said they were “ready to work” towards a trilateral summit with European support.
“We stand ready to uphold the pressure on Russia,” they said, adding: “It will be up to Ukraine to make decisions on its territory. International borders must not be changed by force.”
UK Prime Minister Keir Starmer praised Trump’s efforts to end the war, saying they had “brought us closer than ever before”.
“While progress has been made, the next step must be further talks involving President Zelenskyy. The path to peace in Ukraine cannot be decided without him,” he said.
And in Kyiv, Ukrainians have described feeling “crushed” by the scenes from Alaska.
“I understand that for negotiations you shake hands, you can’t just slap Putin in the face when he arrives. But this spectacle with the red carpet and the kneeling soldiers, it’s terrible, it makes no sense,” Serhii Orlyk, a 50-year-old veteran from the eastern Donetsk region said.
MBW’s World Leaders is a regular series in which we turn the spotlight toward some of the most influential industry figures overseeing key international markets. In this feature, we speak to Katie Kang, CEO of Los Angeles-headquartered K-Pop company TITAN Content. World Leaders is supported by SoundExchange.
Katie Kang knows a thing or two about building K-Pop audiences.
Over 25 years in the Korean music industry, she’s been involved in the casting, training, and development of several superstar K-pop acts – from TVXQ! and SuperJunior to Girls‘ Generation, SHINee, f(x), EXO, RedVelvet, and NCT.
Starting as a casting director at SM Entertainment in 2000, Kang worked her way up to oversee artist development processes.
In 2015, she moved to LOEN Entertainment (now Kakao Entertainment), where she built what she describes as a “first-of-its-kind rookie casting and training system” and helped establish production systems for K-pop boy groups, including THE BOYZ.
But in November 2023, Kang made a bold move, co-founding TITAN CONTENT, a US-headquartered K-pop company (with studios in Los Angeles and Seoul) designed to challenge the traditional Korean entertainment industry model.
According to Kang, TITAN CONTENT, which describes itself as “the world’s first premier multinational K-pop powerhouse music company,” represents a shift in how K-pop expansion works.
Instead of the traditional “sequential” model – starting in Korea, then moving to Japan, China, Southeast Asia, and finally the US and Europe – TITAN, based in the world’s largest recorded music market, aims to launch artists simultaneously across global markets from day one.
TITAN CONTENT has assembled what Kang describes as an “Avengers”-like leadership team, with Kang serving as CEO alongside co-founder and Chairman Nikki Semin Han (former CEO of SM Entertainment), Chief Performance Officer Lia Kim (founder of Korea’s 1MILLION DANCE STUDIO), Chief Visual Officer Guiom Lee (founder of DAZED KOREA), and Chief Business Officer Dom Rodriguez (multi-platinum producer with over 20 years of experience).
TITAN has also raised funding through a seed round led and closed by RW3 Ventures and Raptor Group with Dreamus Company serving as a co-lead investor, along with participation from companies including Animoca Ventures. The company also had the successful first closing of its Series A funding round, though the exact amount remains undisclosed.
“We see artists not as subjects to manage, but as creative partners.”
Katie Kang
According to Kang, TITAN’s value proposition to artists differs from traditional K-pop agencies: “We see artists not as subjects to manage, but as creative partners,” she says.
This philosophy, combined with the company’s global-first approach, positions TITAN to capitalize on what Kang identifies as the next phase of K-pop’s evolution – one focused on “sustainability” and “localization” rather than just rapid expansion.
As K-pop continues its global growth, with groups like BTS, BLACKPINK, Seventeen and more breaking barriers in Western markets, TITAN CONTENT represents an experiment in whether the Korean entertainment industry’s proven artist development system can be successfully transplanted to American soil while maintaining its core effectiveness.
Here, Katie Kang discusses TITAN’s approach to K-pop, the challenges of building a Korean entertainment company in America, and her predictions for the future of the global K-pop business…
What gaps in the global K-pop ecosystem did you identify that led to the creation of TITAN, and how are you specifically addressing those opportunities?
Traditional K-pop expansion has mostly followed a sequential model, starting from Korea and moving to Japan, China, & Southeast Asia, then on to the US and Europe. But in today’s landscape, where global fandom grows in real time through digital platforms, I saw clear limitations in that approach. At TITAN, we focus on maximizing speed and simultaneity.
From the moment an artist debuts, we carry out distribution, marketing, and promotion across Korea and key global markets including US and Asia at once.
This not only accelerates monetization but also boosts the scale of revenue for both the company and the artist, while helping build a stronger global fandom from the start.
AtHeart
For instance, with AtHeart, we’ve been working with IMPERIAL under Republic Records and Universal Music Group on a global level from the pre-debut phase, combining new media strategies with online and offline events. We’re also actively building partnerships with major labels across Asia, including Japan and Chinese-speaking regions.
This is how TITAN creates an environment where artists can quickly gain a foothold in the global market by making “speed” and “simultaneity” the core of our strategy.
How does TITAN’s business model differ from both traditional K-pop agencies and American music companies when it comes to artist development and monetization?
At TITAN, we see artists not as subjects to manage, but as creative partners. While the traditional K-pop system is heavily top-down and American companies often invest in already fully-formed artists, our approach respects the identity and creative potential of emerging talent. We work closely with them to shape their direction and build their brand together.
“Instead of focusing on short-term revenue from album sales or touring, we focus on long-term IP development.”
Our monetization model also differs. Instead of focusing on short-term revenue from album sales or touring, we focus on long-term IP development. We’ve built a structure that lets both the company and the artist expand and diversify revenue through Web3, brand collaborations, merchandise, serialized content, and fan-driven global communities.
And because TITAN was built in a digital-first environment, we are not bound by geography or traditional debut timelines. We apply a “glocal” strategy—global reach with local insight—from the earliest planning stages. Rather than adapting to the existing market, our goal is to help shape a new music ecosystem.
The leadership team you’ve assembled brings experience from diverse sectors – How does this approach influence TITAN’s strategy?
Our leadership brings together experts from music, tech, entertainment, fashion and global business. This “Avengers”-like team allows us to approach challenges from multiple angles.
thetitan.xyz
That diversity has helped us build strategies that are both culturally thoughtful and globally scalable. It also gives us the flexibility to adapt in a fast-changing content market and the foundation to make bold, creative decisions.
This kind of leadership has been key to positioning TITAN as a cross-border, global content company.
AtHeart represents TITAN’s first artist launch in partnership with IMPERIAL Music. What made IMPERIAL the right partner for introducing this group to the global market?
From the start, our goal was to grow AtHeart into one of the top global K-pop acts. That meant we needed more than a distributor—we needed a partner who truly understands the local market and shares a long-term vision for the artist’s brand.
IMPERIAL has a strong track record of supporting unique artists like Stray Kids and TWICE in Western markets through a spirit of experimentation and diversity.
What made them the ideal partner was their respect for an artist’s identity and creativity, along with their ability to co-develop global strategy. We believe the synergy between TITAN and IMPERIAL will help AtHeart go beyond the category of K-pop to become a global artist who best connects with fans around the world.
With your extensive experience in talent development, what new challenges have you encountered launching a group through a US-based company rather than a Korean entertainment agency?
K-pop has long been built on a refined system of artist training and end-to-end production, with a step-by-step global expansion that starts in Korea and moves through Japan, Asia, China, and then the US.
But with the recent explosive growth of K-pop and its fandom in the US, TITAN set out to shift the paradigm. We’re the first and only K-pop company established in the US from the ground up.
We’ve positioned ourselves as the most global K-pop company — one that accelerates growth from the debut stage in a digital-first, global environment. As a startup, we’re also actively working to overcome scale limitations through innovation and new business models.
What are the biggest challenges in the global K-pop business today?
With K-pop’s worldwide popularity, I believe the market has already reached a certain level of scale. The next major challenges are “sustainability” and “localization.” To build lasting artist brands that go beyond short-term trends, it’s essential to form deeper relationships with global fans. That requires cultural authenticity and strong storytelling.
Looking ahead five years, how do you envision TITAN’s positioning in the global K-pop landscape and the global music business more broadly?
Our goal is for TITAN to grow into a global creative content house, not just a K-pop company. Music is our starting point, but our strategy is to expand IP and blend it with various technologies and content formats to build layered value around our artists and brands.
In five years, we expect TITAN to be a global player with direct influence in key markets like North America, Europe, and South America. We aim to nurture a new generation of global artists and lead a music ecosystem that transcends borders of nationality and genre.
TITAN recently closed its series A round. Can you share the value of the round please, and tell us about the significance for TITAN and its long-term goals of having this list of investors onboard?
This Series A round marks a key milestone as TITAN begins its next chapter as a global content company.
While we can’t disclose the exact size of the investment, it was led once again by our lead investor from seed round, with participation from existing investors as well as several new strategic partners, including leading Korean entertainment-tech companies and major institutional investors from Korea.
“More than just financial backers, these partners bring long-term vision and alignment across our global expansion efforts, artist IP strategy, and content diversification.”
More than just financial backers, these partners bring long-term vision and alignment across our global expansion efforts, artist IP strategy, and content diversification. This round further strengthens our global network and helps us build the foundation for a next-generation content business powered by technology and data.
With increasing competition for global talent, what is TITAN’s value proposition for aspiring artists compared to longer-established agencies
Our biggest differentiator is that we place each artist’s individuality and potential at the center of everything we do. We’ve built a system that’s designed to develop the world’s top global artists —efficiently, creatively, and with music that’s truly world-class.
“For aspiring idols, we’re offering more than just a path to debut. We’re offering a new kind of stage: one where they can express their own voice and connect with the world.”
As a global content company, we’ve built our strategy and network with the international market in mind from day one. That means we’re not just helping artists go global but creating an environment where they can grow as equal players on the global stage.
We don’t see artists as subjects to “manage,” but as “co-creating partners” in building a brand. For aspiring idols, we’re offering more than just a path to debut. We’re offering a new kind of stage: one where they can express their own voice and connect with the world.
What will TITAN look for in the artists it wants to work with?
The number one quality we look for is potential. And we don’t just mean skills or early results. We’re looking at each artist’s unique story, their sincerity in wanting to connect with the world through music, and the inner strength that can sustain them through the journey.
“We care deeply about how an artist brings their own culture and identity into their work, and how that can resonate with global fans.”
Especially in global markets like the US, what matters most isn’t being “fully formed”— it’s having the foundation to grow. We care deeply about how an artist brings their own culture and identity into their work, and how that can resonate with global fans.
In the end, we don’t ask, “Are they perfect now?” We ask, “How far can they go?” We see our role as a partner who helps shape that journey and stays with them to the end.
What are your short-to-long-term predictions for the global K-pop business?
In the short term, our focus is on proving TITAN’s execution power through AtHeart’s success in the global market. From training and IP development to music production, marketing, distribution, and management, we’re maintaining the strengths of the K-pop system while layering in flexible, tech-driven strategies that fit the global music landscape.
In the long run, our goal is to establish a creative philosophy and track record strong enough that people start referring to a “TITAN style.” We’re not just staying within music. We want to create IP across genres and become a game-changer in the global content industry.
If you could change one thing about the global music business, what would it be and why?
It’s more so what I think can be improved when it comes to connecting with fans around the world. The music industry is powered by fandom—it’s fandom that builds it and drives it forward.
So we believe it’s crucial to engage deeply with global fans, to reflect their needs, and to create new types of content, services, and products inspired by that relationship. To support this, TITAN is building a platform based on web-3 technology, with the goal of driving innovation across the music industry.
SoundExchange was independently formed in 2003 to build a fairer, simpler, and more efficient music industry through technology, data, and advocacy. The only organization designated by the U.S. government to administer the Section 114 sound recording license, SoundExchange collects and distributes digital performance royalties on behalf of 700,000 music creators and growing.Music Business Worldwide
Who: Manchester United vs Arsenal What: English Premier League Where: Old Trafford, Manchester, United Kingdom When: Sunday, August 16 at 4:30pm (15:30 GMT)
How to follow: We’ll have all the build-up on Al Jazeera Sport from 4:30pm (15:30 GMT) in advance of our live text commentary stream.
Mikel Arteta has challenged Arsenal to keep digging for gold.
The Gunners have finished as Premier League runners-up for the last three seasons, sparking criticism of their failure to get over the line in the title race.
Arsenal blew significant leads when Manchester City pipped them to the trophy in 2023 and 2024, before Liverpool left the injury-plagued north Londoners trailing in their wake last season.
Arsenal’s title frustrations are mounting, with fans questioning whether Arteta is the right man to end their drought after winning only the 2020 FA Cup since he took charge in December 2019.
But the Gunners showed their potential last season, with a run to the Champions League semifinals that ended with a narrow defeat against eventual winners Paris Saint-Germain.
And, buoyed by a host of new signings worth more than 180 million pounds ($244 million) in total, Arteta is convinced they can finally get their hands on the Premier League silverware this season.
“You keep digging, digging, digging, and you have to be digging because one day the gold is going to be there,” he told reporters on Friday.
“For three seasons, we’ve had more points than [nearly] any other team in this league, which is incredible.
“You have the consistency, but now we have to do it in a season, to end with more points than any other team.
“That’s the objective. When I’ve been taught, when I’ve been educated, that’s it.”
Hampered by injuries to Bukayo Saka, Martin Odegaard, Gabriel Jesus and Kai Havertz at various stages last season, Arsenal lacked a cutting edge and were held to 14 draws compared with Liverpool’s nine.
That was a crucial edge as Arsenal finished 10 points behind the champions.
Arsenal’s Viktor Gyokeres heads at goal during a preseason friendly against Athletic Bilbao [Matthew Childs/Reuters]
After bemoaning Arsenal’s failure to sign Aston Villa striker Ollie Watkins as Liverpool pulled away during the January window, the Spaniard is a far more upbeat figure on the eve of the new season.
“I think we have great versatility, very different qualities in relation to the opposition, so we are very happy with that,” he said.
Arteta said that “too many” teams have a legitimate shot at winning the Premier League for his liking, some he even suspects will “surprise everybody”.
Whether that was a hint that United, who suffered their worst season since 1973-74 last term, could emerge as contenders after their summer spending spree remains to be seen.
Arsenal were linked with a move for United’s new striker Benjamin Sesko before deciding to bet on Gyokeres for a fee that could rise to 66 million pounds ($89.5m).
The Swede netted 97 times in 102 games in two years at Sporting, much of which came under United’s current manager, Ruben Amorim.
Manchester United’s Bryan Mbeumo moved from Brentford in the summer transfer window [Andrew Boyers/Reuters]
How is the season shaping up for Man Utd?
Instead of being reunited with Gyokeres, Amorim overhauled his attack with the signings of Leipzig’s Sesko, Brentford winger Bryan Mbeumo and Wolves forward Matheus Cunha at a combined cost of more than 200 million pounds ($271m).
United, who have not won the title since 2013, had to spend big to erase the stench of their putrid campaign.
Amorim’s team finished a dismal 15th in the top-flight, and squandered a chance to qualify for the Champions League with a toothless 1-0 defeat against fellow underachievers Tottenham in the Europa League final.
The pressure is on Amorim, who replaced the sacked Erik ten Hag in November, to deliver major improvements in his second season.
Amorim knows Sesko will be key to that target and believes the 22-year-old Slovenian is ready to rise to the challenge.
“I don’t need to tell Ben, ‘Ben, this is Manchester United, a lot of pressure. Every game is like do or die’,” Amorim said.
“He is always thinking about football. He’s really obsessed about that.”
Head-to-head
This is the 244th meeting between the clubs, with United winning 99 of those games and Arsenal winning 89.
The last two meetings ended in 1-1 draws, although one of those was in the FA Cup with United advancing on penalties.
The Red Devils have not beaten the Gunners since December 2022, a 3-1 home win lead by a Marcus Rashford double.
The Gunners have won four of the six following meetings.
Manchester United team news
Defenders Lisandro Martinez (knee) and Noussair Mazraoui (hamstring) are both injury absentees for United.
Joshua Zirkzee and Andre Onana have, however, both recovered from knocks and are available for selection.
Arsenal team news
Arteta has said that the new signings, Gyokeres and Zubimendi, are both “fit to play”.
Leandro Trossard has had a groin problem but is expected to recover in time for selection. Gabriel Jesus remains a long-term absentee with an ACL injury, but otherwise, Arteta has a full squad to choose from.
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More than 180 Gazan children and adults have been brought to Italy since the start of Israel’s war on Gaza
A Gazan woman who was evacuated to Italy for treatment while severely emaciated has died in hospital.
The 20-year-old, who was identified as Marah Abu Zuhri, flew to Pisa with her mother on an overnight flight on Wednesday under a scheme set up by the Italian government.
The University Hospital of Pisa said that she suffered a cardiac arrest and died on Friday, less than 48 hours after arriving.
The hospital said she had suffered severe loss of weight and muscle, while Italian news agencies reported she was suffering from severe malnutrition.
The UN has warned of widespread malnutrition in Gaza, with experts backed by the organisation warning last month in a report that the “worst-case scenario” of famine is playing out in Gaza.
Israel has denied there is starvation in Gaza and accused UN agencies of not picking up aid at the borders and delivering it.
More than 180 children and adults have been brought to Italy since the start of Israel’s war with Gaza.
Thirty one patients and their companions arrived Rome, Milan, and Pisa this week, all with serious congenital diseases, wounds or amputations, the Italian foreign ministry said.
Meanwhile, British MPs urged the government to bring sick and injured children from Gaza to the UK “without delay”, weeks after the British prime minister, Sir Keir Starmer, promised to set up an evacuation scheme.
The Home Office said it intends to evacuate a few hundred children from Gaza “at pace” and that biometric tests must be carried out before children and carers can be allowed in the UK.
The Israeli ministry said it will start providing Gaza City residents with tents and other equipment from Sunday before relocating them to “safe zones”.
The statement came days after Israel’s government announced troops would occupy Gaza City. Several days of heavy bombardment of the Zeitoun, the largest district in the city, has since followed.
A spokesperson for the municipality told the BBC that the situation in Zeitoun was “catastrophic”, with mass displacement taking place after six days of relentless Israeli air strikes, shelling and demolition operations.
At least 36 people have been killed in Israeli strikes on Saturday, according Gaza’s Hamas-run health ministry.
The health ministry also said that 11 more people had died from malnutrition, bringing the number of hunger-related deaths to more than 250.
The Israeli military said it was “committed to mitigating civilian harm” and questioned the reliability of the death tolls provided by the Hamas-run ministries.
Israel’s government denies there is malnutrition in Gaza. It says its forces target terrorists and never civilians, and claims that Hamas is responsible for the humanitarian crisis.
More than 60,000 people have been killed since the start of Israel’s war in Gaza, according to the Hamas-run health ministry.
Lamine Yamal and Raphinha both find the net in Barcelona’s 3-0 La Liga win at Mallorca, who had two players sent off.
Barcelona began the defence of its La Liga title with a comfortable 3-0 win at Mallorca, scoring early and taking advantage of two first-half red cards for the hosts.
Raphinha and Lamine Yamal, who led Barcelona’s prolific attack last season, needed only seven minutes to impress again on Saturday. Yamal’s curling cross found Raphinha by the far post, and the Brazil forward headed in from close range.
Ferran Torres’s shot from outside the area in the 23rd was a goal that drew complaints from Mallorca because one of its players was on the ground after being hit by the ball in the head in the buildup.
Some Mallorca players stopped playing after their teammate went down, but the referee allowed play to continue. Mallorca immediately complained after Ferran scored.
The host went a man down 10 minutes later when Manu Morlanes was sent off for a second yellow card for fouling Yamal on the run. His first yellow was for protesting Barcelona’s second goal.
The second red card in the 39th came from Mallorca striker Vedat Muriqi hitting the head of Barcelona goalkeeper Joan García with his left foot while reaching up for a high ball. The referee changed the card from yellow to red after a video review.
Barcelona’s Brazilian forward Raphinha heads the ball to score the opening goal at Mallorca [Jamie Reina/AFP]
Yamal made it 3-0 in second-half stoppage time by hitting the top corner.
Barcelona, which won the league last season after scoring 102 goals, was without veteran striker Robert Lewandowski because of an injury. Newly signed forward Marcus Rashford went in as a substitute in the 69th.
New Barcelona goalkeeper García did not have to work much in his Barcelona debut after being signed in the offseason in a transfer from city rival Espanyol.
Regular starting goalkeeper Marc-Andre ter Stegen is out after undergoing lower back surgery, and García started ahead of Wojciech Szczesny and Iñaki Peña, who replaced Ter Stegen last season.
Later Saturday, Valencia hosted Real Sociedad and promoted Levante visited Alaves.
On Friday, Rayo Vallecano won at Girona 3-1, and Villarreal defeated promoted Oviedo 2-0.
