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Forbes
24 minutes ago
- Forbes
ABBA Sees A Trio Of Career-Defining Hit Songs Return Together
ABBA is back on the Official Physical Singles chart this week with several classic tunes, showing that decades after first becoming superstars, the Swedish pop musicians still sell in impressive numbers. Three of the quartet's most beloved singles return to the tally, which ranks the top-selling cuts on any physical format – and as they rebound, British citizens once again show their love for the once-maligned outfit. 'SOS,' 'So Long,' and 'Mamma Mia' Return Three ABBA favorites — 'SOS,' 'So Long,' and 'Mamma Mia' — all find space on the Official Physical Singles chart this frame. 'SOS' leads the pack at No. 57, followed by 'So Long' at No. 81 and 'Mamma Mia' just behind that latter cut at No. 82. Each one of those tunes has only been away for a less than a month. All Three Have Hit the Top 10 Before While their current positions are fairly modest, each ABBA's returning cuts has previously broken into the Official Physical Singles chart's top 10, though they stalled in different spots. 'So Long' once climbed to No. 3, 'SOS' peaked at No. 5, and 'Mamma Mia' reached No. 4. Coincidentally, all three have now spent exactly four weeks on this ranking, even though they've stepped away in the past. Four ABBA Singles Debuted in June All three ABBA tracks that currently appear on the Official Physical Singles tally originally debuted back in June. At the same time, the Grammy-nominated group also launched 'I Do, I Do, I Do, I Do, I Do' inside the top 10, though that single does not reappear on the roster this time. Gold Still Performing Well Across Multiple Rankings ABBA's singles success pairs well with continued power on the albums tallies in the U.K. The group's Gold – Greatest Hits compilation holds at No. 21 on the Official Albums chart, where it has now spent more than 1,200 weeks. It also sits inside the top 40 on both the streaming and downloads rankings. The band even manages to fill two spaces on the Official Album Downloads chart with different versions of Gold.
Forbes
24 minutes ago
- Forbes
Ligue 1 McDonald's TikTok Masterclass: Lessons On How To Crack The TikTok Code
How this French Football league mastered the art of building global fandom In a sports media landscape overflowing with content, how does a top-tier league not just compete but dominate? France's top football league, Ligue 1 McDonald's, has cracked the code with a reimagined TikTok strategy designed to turn a social platform into a global engagement engine. In just a year, this bold pivot hasn't just enhanced the Ligue 1 McDonald's international profile; it has significantly bolstered an entire ecosystem of teams, broadcasters, and athletes. With an astounding 20 million followers and over 1.6 billion video views, Ligue 1 McDonald's has emerged as one of the most influential sports publishers on TikTok, proving that even in a saturated market, strategic innovation can generate unparalleled reach. Here, we unpack the key lessons from their winning formula. The Ligue 1 McDonald's TikTok strategy is all about scale and consistency. By posting more than 25 times per week (sometimes exceeding 50), they feed TikTok's recommendation system a constant stream of rich signals — from high completion rates and shares to comments and the use of trending sounds — optimizing for maximum reach, engagement, and relevance. The insight is simple: More posts mean more "For You" placements, especially when the content is timely, tailored, and genuinely engaging. This consistent output is fueled by a robust, continuously updated clip library that allows the league to satisfy fan obsession with a diverse mix of formats. Think match highlights alongside behind-the-scenes glimpses, trending memes, and intimate pre-game rituals — all coexisting seamlessly in one consistent feed. In addition, Ligue 1 McDonald's delivered more than just traditional highlights, expertly integrating diverse formats, including creator-style edits, engaging voiceovers, and trending sounds. This creative range ensures their content not only avoids viewer fatigue but actively captures the attention spans and preferences of different fan segments, from those seeking quick match highlights to those craving deeper player insights or trending cultural content. One of Ligue 1 McDonald's most impactful strategic moves has been its commitment to creating localized content. Rather than segmenting into separate feeds, they leverage strategic geofencing not to limit visibility but to amplify it by delivering additional, audience-specific posts tailored to the region, language, and cultural relevance. These geofenced posts are published in addition to Ligue 1 McDonald's regular global content, serving as an extra layer of targeted distribution that precisely amplifies reach among international fanbases. This strategy has significantly boosted the team's visibility outside of France, with international views accounting for a remarkable 61% of all #ligue1 views, totaling 3.6 billion. The lesson here is clear: use geofencing to expand reach and maintain a strong global presence by connecting with local audiences through tailored content. Ligue 1 McDonald's achieves this by creating dedicated posts for every player, every target market, and in every relevant language. For example: as part of their successful Arabic strategy, the league localized content by specifically spotlighting Arab players and tailoring posts entirely in Arabic, which ensured they appeared directly to fans in Arabic-speaking countries. This targeted approach strengthens emotional connections, celebrates regional heroes, and has proven exceptionally effective in expanding the league's fanbase across the MENA (Middle East and North Africa) region. Ligue 1 McDonald's approach offers a replicable playbook for sports publishers and leagues worldwide: In today's dynamic digital landscape, building global fan communities is a vital element of any winning strategy. Ligue 1 McDonald's TikTok success proves that nurturing direct, personalized connections worldwide translates into unparalleled visibility and engagement. For any brand aiming for sustained growth — empowering and deeply connecting with your community is the key to transforming fleeting fans into loyal brand advocates.
Associated Press
24 minutes ago
- Associated Press
Tenor Piotr Beczała sings different productions of Wagner's 'Lohengrin' 41 hours apart
BAYREUTH, Germany (AP) — Less than 41 hours after his final bows for singing the title role of 'Lohengrin' at Munich's Bavarian State Opera, Piotr Beczała was 150 miles (241 kilometers) away at the Bayreuth Festpielhaus for a different production of the same Wagner opera. Wagner's roles are among the most punishing in classical music, and breaks of two or three days between performances are customary to allow for vocal recovery. Beczała earned thunderous ovations on Wednesday in Munich and Friday at Bayreuth. 'I was a little under pressure because Christian Thielemann is coming back to Bayreuth for this production,' the 58-year-old Polish tenor said, citing his desire to please the conductor. 'We did it in 2018 and '19 so, yeah, I agreed with this crazy schedule.' Limited rehearsal time Beczała and the cast for the revival of Yuval Sharon's 2018 Bayreuth production arrived July 12 for four hours of blocking at a studio, then had a 7 1/2-hour final dress rehearsal the following day in the auditorium built to Wagner's specifications. He traveled to Munich on July 14 for a recital four days later at the 150th Munich Opera Festival followed by 'Lohengrin' in Kornél Mundruczó's 2022 staging on July 27 and 30. Beczała drove back to Bayreuth the next morning for a 3 p.m. music rehearsal with Thielemann, who led Beczała's first Lohengrin in 2016. There were three more performances at Bayreuth through Aug. 9. 'Having sung Lohengrin in a different production previously, he carries a mature interpretation that can adapt fluidly to different directorial visions,' Bavarian State Opera general director Serge Dorny said. 'His preparation for both stagings was meticulous, and we knew that he would approach each performance with total professionalism and focus.' Lohengrin, a mysterious knight, arrives to unite the divided people of Brabant and defend the noblewoman Elsa from the false accusation she murdered her brother. He agrees to marry her on the condition she never ask him his name or origin. A veteran of seven productions Beczała also has sung Lohengrin in Dresden, Vienna, New York, Paris and Zurich. Mundruczó and Sharon, like many contemporary directors, abandoned Wagner's 1850 stage directions that have Lohengrin arrive and depart on a boat pulled by a swan. 'He is not necessarily coming as a God-sent person,' Mundruczó said. 'It's more like someone who we are choosing, so somehow it's one of us.' Monika Pormale designed stark white sets for Munich that included hilly, grassy areas in the first act. Beczała nearly slipped but caught his balance in time. Anna Axer Fijalkowska costumed Lohengrin in cream as a common man rather than medieval finery: jeans, sweatshirt and loafers. 'I go, to be honest, on airplanes more elegant than that,' Beczała said, laughing. Anna Brunnlechner, the revival stage director, didn't mind the compressed practice period. 'I prefer a very intense time, also with a bit of adrenaline, than a very long rehearsal time where you can talk every detail,' she said. Bayreuth's sets and costumes were by the married artists Neo Rauch and Rosa Loy, dominated by the color Delft Blue — even Beczała's wig. Their Lohengrin is dressed like a 1930s electrician wearing a shirt and tie with overalls, arriving in a transformer and clutching a lightning bolt for a sword. Sharon, in an email to assistant director Eva-Maria Abelein he shared with the AP, called the opera 'the story of the decay of the angel.' 'Lohengrin is a bringer of light, and he is humble at first — he is a servant of a higher force,' he wrote. 'But the idea of a year of bodily pleasure, joy, love, four seasons … He can't resist it. And the character we see in Act II is arrogant, full of himself, and much closer to violence. In Act III, he is brutal with his new wife — because that's what he thinks humans do.' Beczała took over for the 2018 production premiere when Roberto Alagna withdrew 27 days before the first performance. 'Piotr is really exceptional,' Abelein said Saturday. 'He took one wrong position last night and then he came off saying, 'I'm so sorry about this.' I said, 'Piotr, it's not important at all because the way he acted is important.'' Surprise liquid refreshment Wolfgang Schilly, another Bayreuth assistant director, provided Beczała some special assistance for this year's opener. Beczała was thinking about 'In fernem land (In a distant land),' the third-act aria when Lohengrin reveals his name to Elsa. 'I could give a thousand dollars for just a little water before the aria but there's no space,' Beczała recalled telling him Thursday. Schilly had a tiny hole punctured in the set wall between where oversized insect wings were pinned, then inserted a straw attached to a bottle. An appreciative Beczała was able to sip. 'I'm not so sure that Neo Rauch is happy that we make a hole in his art,' Beczała said, smiling.
