Press Release
Satoshi Nakamoto 2.0 BTCs solves which shortcomings of BTC? And what makes peer-to-peer electronic cash payments possible?
Satoshi Nakamoto created BTC, not forgetting his original intention and remembering his mission, and everyone in the world participated for free in creating “a peer-to-peer electronic cash payment system”.
More than a decade ago, computers were still relatively popular, and everyone could simply participate in mining for free per computer. Cell phones are not yet relatively intelligent, the world is mostly 2G、3G cell phones, cell phone chip capacity is also many times worse.
Everyone uses ordinary computers to simply participate in digging BTC for free, prematurely open source, extending the coin circle professional mining machine mining, forming a business model that capital can control, and various commercial applications and commercial tokens appear. The invasion of capital has made BTC lose the value of fair, equal and just payment, and go further and further down the road to digital cash payment. This experimental BTC of Satoshi Nakamoto is against the original intention and eventually failed.
What are the disadvantages of Bitcoin?
1、Pre-mining, the initial mining of bitcoins led to holding too many coins! One million bitcoins in the hands of Satoshi Nakamoto led to the formation of the sword of Damocles, hanging high over bitcoin. Fortunately, Satoshi Nakamoto is a noble man, not for fame and fortune! Never appear!
2、Mining bitcoin mine is the machine, forming a monopoly of large capitalists. People with money can buy a lot of mining machines, and most of the coins are concentrated in the hands of a few people, so what’s fair about that?
3、Mining machines are involved in virtual mining, and all machines produce virtual data.
4、Hold the coin account security is low, if the key is lost, remember the wrong, the information on the account will all be lost!
5、Bitcoin encryption underlying logic security is not high, the recent news that the U.S. FBI cracked the hacker bitcoin private key we all know!
6、Bitcoin price fluctuations, not suitable for payment currency.
7、Bitcoin transfer fees are high and slow!
8、Bitcoin miners have a huge demand for electricity, causing damage to the world’s environment and causing resentment in various countries!
What Bitcoin pain points did Satoshi Nakamoto BTCs address that made the ideal of peer-to-peer payments possible?
1、December 12, 2020, ten years to sharpen a sword, the global public millions of miners, the same moment that day, first-hand experience BTCs from 0 blocks, the first BTCs coin was born. BTCs project cell phone mining to recruit a large number of registered miners before starting to pre-mining, as fair and just as possible. It can be said that BTCs is the most decentralized coin in the world digital currency project chips. So far it is impossible for anyone to mine more than 60,000 BTCs.
2、Satoshi Nakamoto BTCs free cell phone mining, with real people as the mining machine, a real person for a block, Satoshi Nakamoto BTCs with blockchain technology + cryptography technology, every real person in the world, the uniqueness of the block address, the perfect secure link together. It can be understood that only real people APP mining, with real people as a block, each real person linked with arithmetic code, forming a chain, non-repeatable, non-returnable, non-modifiable, traceable proof of real people. Satoshi Nakamoto mining is not able to miners to participate in virtual mining, is to block computer miners to generate virtual data.
3、Satoshi Nakamoto BTCs free cell phone mining, using real data information provided by each real person (ID information + face recognition data + cell phone code + IP information network information, etc.) to form a special secure real data hash value. If you accidentally lose your cell phone or account, it is easy to retrieve it through identity + face recognition technology. If someone steals your account, it is not possible to do any transaction within 3 days, you have enough time to retrieve your account. It can be said that BTCs account security is higher than banks, each person is unique, it is impossible to create a fake account!
4、Satoshi Nakamoto BTCs are not just used for the digital payment field, a digital gold status, but for the payment field is and BTCs anchored value of USDs (decentralized stable coins). We can understand that BTCs are similar to the real gold, the price fluctuates randomly according to supply and demand. And USDs similar to the counterpart of gold price currency is a stable coin, sometimes gold is $400 an ounce, sometimes $300 an ounce, but USDs will not fluctuate or rarely fluctuate, it is this decentralized stable coin.
5、Satoshi Nakamoto BTCs free cell phone hand mining 0 second transfer, free transfer. All you need is the other party’s phone number (for domestic miners) or email address (for overseas miners) and the transfer will be done instantly.
6、Satoshi Nakamoto BTCs free cell phone mining, only a cell phone can be completed. BTCs mining is the project’s own entity physical mine to provide the arithmetic power to mine, and not some miners misunderstood cell phone software mining. So far, the cell phone chip can’t satisfy the computing needs of the mining cryptography algorithm, but only through the project’s own mine (server) to provide arithmetic support, the project currently has 81 super servers and 370 arithmetic servers, mainly deployed in the United States, Japan and China (a small number), we upgrade the app every time (including the last expansion) will not appear lagging phenomenon, is the above The above-mentioned server base is supporting the whole process.
This shows that the investment and strength of the project is not trivial. And why basically any configuration of cell phones can be BTCs mining? Because the phone only contributes part of the computing power. Each block generated by our APP stores the hash value calculated by cryptography, the arithmetic ratio of each miner and other information, with “unforgeable”, “full trace”, “traceable “, “open and transparent”, “collective maintenance” and other characteristics. After the cell phone is connected to the server, it becomes a valid block that cannot be tampered.
On December 12, 2020, the second generation of the out-of-print signature coin created by Satoshi Nakamoto himself, BTCs started from block 0 and the first coin was born.
Not only is it exciting, but also grateful and appreciative. Recreating a fair, equal, and just wealth community for the global public. Miners around the world are free to participate throughout, no fees! Satoshi Nakamoto mining system does not participate in mining, the system does not pre-mining no reservation, Satoshi Nakamoto not for fame and fortune only for the ideal, devotion to build, will certainly succeed in achieving the ideal! BTCs – a peer-to-peer electronic cash payment system + stable coins USDs, belonging to the global village common minted circulation of the great currency!
The traditional mining model is not environmentally friendly and consumes a lot of electricity and energy and is boycotted by various countries. Now, the arrival of the 5G era, the computer era technology will definitely migrate to the mobile Internet era, the general trend is unchangeable!
This time, Satoshi Nakamoto BTCs swept the world strongly, providing users around the world with a real cell phone zero jerk mining APP with a total of 2.1 billion pieces, opening a new situation of blockchain digital currency trading.
BTCs can be tried and tested, don’t miss out! Please be imaginative!
Come mine with us：https://www.btcs.love/invite/1ppyi
Contact Us：
Line：s780529
WhatsApp: ＋66988454028
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Press Release
apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Many Asian growing up in Japanese anime and manga, and nowadays a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.
According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Anime’s Regional Dominance
The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.
“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.
Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.
The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.
K-Pop’s Global Music Supremacy
While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.
K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.
Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.
Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.
Regional Dynamics and Market Trends
The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.
Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.
Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.
Future Outlook
Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.
K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.
The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.
JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)
Media Contact
Organization: PR NEWS AI LLC
Contact Person: Rachel Weiss
Website: https://prnews.ai
Email: Send Email
Contact Number: +19152134473
City: Dover
State: Delaware
Country:United States
Release id:39779
The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Press Release
Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
According to JapanNews.info, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Many Asian growing up in Japanese anime and manga, and nowadays a striking divide in Asian entertainment dominance, with Japanese anime commanding over 60% of entertainment revenue across Asia-Pacific while K-Pop maintains its global music supremacy with an estimated 150 million fans worldwide.
According to comprehensive industry data compiled by Japan News Info and PR News Releaser, the Asia-Pacific region generated more than 60% of the global anime market’s $34.3 billion in revenue during 2024, driven by streaming platform expansion, merchandise sales, and cross-media adaptations. Meanwhile, K-Pop continues its extraordinary global reach, with the genre accounting for approximately 2% of the world’s population as dedicated fans.
Anime’s Regional Dominance
The anime industry’s stronghold in Asia reflects decades of cultural integration and recent digital transformation. Market research indicates Asia-Pacific held between 38.7% to 62.7% of global anime market share in 2024, with total regional revenue projected to reach $18.1 billion by 2030.
“Asia-Pacific dominated the anime market with the largest revenue share in 2024, driven by increasing consumption of digital content and the popularity of streaming services,” according to industry analysts. Japan remains the production epicenter, while China, South Korea, and Southeast Asian nations have emerged as major consumption markets.
Streaming platforms have accelerated anime’s accessibility across the region. Netflix expanded its anime catalog to 240 titles in 2024, while specialized platform Crunchyroll tripled its subscriber base from 5 million to over 15 million between 2021 and 2024. Notably, 69% of Gen Z respondents report watching anime content, compared to 57% of millennials.
The merchandising segment represents the largest revenue stream, accounting for approximately 29-32% of total anime market value. Popular franchises like Demon Slayer, Attack on Titan, and Jujutsu Kaisen generate substantial revenue through licensed products, games, and cross-media adaptations.
K-Pop’s Global Music Supremacy
While anime dominates Asian entertainment broadly, K-Pop maintains undisputed leadership in the global music industry. Industry estimates place the worldwide K-Pop fanbase at over 150 million individuals as of 2024, with the genre generating over $5.8 billion in annual revenue.
K-Pop’s influence extends far beyond Asia, with major markets in North America, Latin America, Europe, and the Middle East. Groups like BTS and BLACKPINK have achieved unprecedented international success, with BTS generating over $4.65 billion annually for South Korea’s economy and BLACKPINK’s music videos regularly surpassing one billion views.
Social media has proven instrumental in K-Pop’s global expansion. Over 7.8 billion K-Pop-related tweets were posted worldwide in 2021, representing a 16% increase from the previous year. The genre’s carefully orchestrated fan engagement strategies, multilingual content, and polished visual productions have created dedicated international communities spanning diverse demographics.
Major streaming platforms have recognized K-Pop’s commercial potential, with artists consistently appearing on global charts. BTS’s “Butter” spent 10 non-consecutive weeks at #1 on the Billboard Hot 100, while multiple K-Pop groups have achieved top-10 debuts on the Billboard 200 album chart.
Regional Dynamics and Market Trends
The entertainment landscape reveals distinct consumption patterns across Asia. While K-Pop enjoys strong popularity in Japan—with groups like Stray Kids and TWICE ranking among Japanese teens’ favorite acts—anime maintains broader entertainment market share through its integration with gaming, merchandise, and digital platforms.
Southeast Asian markets show particularly high engagement with both formats. Thailand and Indonesia report anime engagement rates of 59% and 56% respectively, while also hosting substantial K-Pop fanbases with dedicated concert audiences and streaming communities.
Industry experts note the genres serve complementary rather than competing roles. “Young Koreans are now openly consuming Japanese culture, including anime, without the historical stigma,” according to cultural analysts studying cross-border entertainment trends. Similarly, Japanese audiences have embraced K-Pop artists, creating a mutually beneficial cultural exchange.
Future Outlook
Both industries show robust growth trajectories. The global anime market is projected to reach $60-68 billion by 2030-2033, with streaming revenue expected to triple from $3.7 billion to $12.5 billion internationally. Technological innovations including AI-assisted production and virtual reality experiences are expanding creative possibilities.
K-Pop continues aggressive global expansion through strategic partnerships, multilingual releases, and international collaborations. Industry revenue surpassed $10 billion in 2020 and continues growing, with South Korea’s entertainment exports contributing over $5 billion to the national GDP.
The divergent success patterns—anime’s regional entertainment dominance versus K-Pop’s global music leadership—underscore how different content formats achieve international influence through distinct strategies and audience engagement models.
JapanNews.info provides comprehensive coverage and analysis of Japanese culture, entertainment, and society for English-speaking audiences worldwide. The platform delivers original reporting and data-driven insights on trends shaping Japan’s global cultural influence. (Market data compiled from Grand View Research, SkyQuest Technology, Parrot Analytics, IMARC Group, Mordor Intelligence, Korean Foundation for International Cultural Exchange, and industry reports published 2024-2025.)
Media Contact
Organization: PR NEWS AI LLC
Contact Person: Rachel Weiss
Website: https://prnews.ai
Email: Send Email
Contact Number: +19152134473
City: Dover
State: Delaware
Country:United States
Release id:39779
The post Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Xepeng focuses on how merchants receive settlements exclusively in Rupiah without digital asset custody.
Denpasar, Bali, Indonesia, 2nd Jan 2026 — Xepeng today outlines the merchant outcome on its platform, focusing on how merchants receive settlements exclusively in Indonesian Rupiah (IDR) without any requirement for digital asset custody or management at any stage in the transaction lifecycle.
Xepeng’s design separates the initiation instrument, a customer’s digital asset, from the commercial event recorded by the merchant. The platform executes conversion and settlement so merchant cash flow remains bank-native, while Xepeng manages identity verification, risk controls, and conversion mechanics on the backend.
Merchants provide a transaction reference to confirm the commercial purpose. Funds are then transferred directly to the merchant’s bank account in Rupiah, maintaining familiar cash flow patterns. This approach means merchants never hold, store, manage, or account for digital assets at any stage. There is no need for wallets, private keys, or exchange registrations, reducing operational complexity.
The design supports standard practices in Indonesia, where merchants continue with Rupiah-based invoicing, reconciliation, accounting, and tax reporting. By handling all digital mechanics on the backend, Xepeng enables merchants to benefit from expanded international digital payment sources without altering their core operations.
“Merchants should not have to become asset custodians to accept new forms of international value,” said Budi Satrya, CMO of Xepeng. “Our role is to translate global value into clear Rupiah settlements so businesses can focus on service, not custody.”
Indonesia’s financial system prioritizes Rupiah for domestic transactions to promote stability and local circulation. Xepeng’s settlement model aligns with this by ensuring outcomes remain in local currency, supporting economic retention.
As international digital payments evolve, platforms like Xepeng provide merchants with a structured way to access new value streams while staying within established local practices.
About Xepeng
Xepeng provides a payment conversion platform that enables Indonesian merchants to receive Rupiah settlements from international digital payment sources without holding or managing digital assets.
Media Contact
Organization: Xepeng
Contact Person: Budi Satrya
Website: https://xepeng.com/
Email: Send Email
Contact Number: +6287862024247
Address:Jl. Cut Nyak Dien No.1, Renon
Address 2: Denpasar Selatan, Bali
City: Denpasar
State: Bali
Country:Indonesia
Release id:39776
The post Xepeng Defines Merchant Outcome: Rupiah Settlement, Not Digital Asset Custody appeared first on King Newswire. This content is provided by a third-party source.. King Newswire makes no warranties or representations in connection with it. King Newswire is a press release distribution agency and does not endorse or verify the claims made in this release. If you have any complaints or copyright concerns related to this article, please contact the company listed in the ‘Media Contact’ section
About Author
Disclaimer: The views, suggestions, and opinions expressed here are the sole responsibility of the experts. No Digi Observer journalist was involved in the writing and production of this article.
Japanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
apanese Anime Captures 60% of Asian Entertainment Revenue While K-Pop’s 150M Global Fans Dominate Music Charts
Xepeng Defines Merchant Outcome: Rupiah Settlement, Not Digital Asset Custody
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