A New Strategy for Cultural Impact

For decades, the standard path for a successful actor or athlete was relatively simple. You reached a certain level of fame, and then you signed a contract to be the “face” of a brand. You showed up for a photo shoot, recorded a thirty-second commercial, and collected a paycheck. This was the traditional endorsement model. It worked well for a long time, but it had a major flaw: the celebrity was just a temporary inhabitant of the brand’s world. They didn’t own the creative process, and they didn’t share in the long-term growth of the company they were helping to build. Michael B. Jordan has decided to play a completely different game.

By co-founding Obsidianworks alongside Chad Easterling, Jordan shifted his focus from being a hired hand to being the person who owns the tools. Obsidianworks isn’t just a management company; it is a full-scale creative agency that handles massive projects for global names like Nike, Instagram, and Spanx. In 2025, the agency took a massive step forward by buying out its minority partner, 160over90, and becoming fully independent. This move highlights a massive change in the entertainment industry. It is no longer enough to just be popular. The goal now is to own the infrastructure that produces and manages that popularity.

This shift matters a great deal for a place like Phoenix. Our city has seen a massive influx of creative talent and tech entrepreneurs over the last few years. As the Valley continues to grow, local leaders and creators are looking for ways to build sustainable businesses that aren’t dependent on a single contract or a temporary trend. The “Jordan Model” provides a blueprint for how to turn influence into a scalable, lasting machine. It is about moving away from trading time for money and toward building systems that generate value even when you aren’t in front of the camera.

Breaking the Cycle of Fame for Fees

Most people in the public eye are still operating under the old rules. They see their fame as a commodity to be sold to the highest bidder. While this can lead to a very high income, it doesn’t build wealth in the long term. When the contract ends, the income stops. Jordan’s approach with Obsidianworks is different because it creates a business that exists independently of his next movie role. The agency has its own staff, its own clients, and its own reputation. It is a “brand machine” that operates in the background, building equity and influence that will last for decades.

The agency’s work for the Nike x NBA All-Star Weekend or Instagram’s Met Gala activations shows that they are playing at the highest level of the industry. These aren’t just vanity projects. They are high-stakes marketing campaigns that require deep strategic thinking and cultural awareness. By successfully executing these projects, Obsidianworks has proven that it can compete with the traditional giant agencies in New York or Los Angeles. This success gives Jordan a seat at the table that a simple actor could never have. He is now a peer to the CEOs and marketing directors of the world’s biggest companies.

In the Phoenix business landscape, we see a lot of “solopreneurs” and influencers who are starting to realize the limitations of their current path. Whether you are a professional athlete playing for the Suns or a local content creator with a growing following, the temptation is always to take the quick check. However, the real growth happens when you start thinking about the backend. Ownership means having a say in the creative direction and, more importantly, having a stake in the outcome. It’s the difference between being a tenant and being the landlord.

The Operational Shift Toward Independence

The decision to go fully independent in 2025 was a calculated move. For several years, Obsidianworks operated with a minority partner, which provided a level of safety and shared resources. But true independence allows for a level of creative freedom that isn’t possible when you have to answer to a larger corporate entity. By buying out 160over90, Jordan and Easterling signaled that they have the confidence and the capital to stand on their own. This is a bold statement in an industry that is often dominated by a handful of massive conglomerates.

This independence is what allows the agency to be truly “culture-powered.” Traditional agencies often struggle to keep up with the fast-moving world of social media and cultural trends because they are weighed down by layers of bureaucracy. Obsidianworks is lean, fast, and deeply connected to the communities it serves. They don’t just guess what is cool; they are part of the groups that define what is cool. This makes their work feel authentic rather than manufactured, which is exactly what modern consumers are looking for.

For business owners in Arizona, the lesson here is about the value of specialization. You don’t have to be everything to everyone. Obsidianworks found its niche at the intersection of culture and creative strategy and doubled down on it. By focusing on what they did better than anyone else, they made themselves indispensable to their clients. This is a strategy that works just as well for a boutique design firm in Scottsdale as it does for a Hollywood agency. Success comes from owning your specific corner of the market and refusing to compromise on your vision.

Strategic Advisories and the Scaling of Influence

The next phase of this evolution is already underway. Chad Easterling has launched a strategic advisory to help other high-profile individuals make this same transition. The goal is to help talent move from being a “face” to building a “platform.” This involves creating media companies, setting up investment vehicles, and looking for equity-driven ventures. This is a sophisticated way of managing a career that goes far beyond what a traditional talent agent does. It requires a deep understanding of finance, operations, and long-term brand building.

This advisory work is particularly important because it addresses the “talent gap.” Most actors and athletes are incredibly talented in their specific field, but they haven’t been trained in how to run a business. They need a team that can help them navigate the complexities of contracts, hiring, and strategic growth. By providing this infrastructure, Easterling is helping a new generation of creators take control of their financial futures. They are learning that their biggest asset isn’t their talent—it’s the platform they build around that talent.

This concept of a “platform” is something we are seeing more of in the Phoenix tech scene. Founders here are increasingly looking for ways to build ecosystems rather than just standalone products. They want to create businesses that have multiple revenue streams and that can adapt to changing market conditions. The shift from endorsement to ownership is essentially a move toward building a more resilient and versatile business. It’s about ensuring that your success isn’t tied to a single point of failure.

Real Numbers and the Diversity Advantage

One of the driving forces behind the success of an agency like Obsidianworks is the recognition of the economic power of diverse audiences. For a long time, many marketing campaigns ignored or oversimplified the preferences of minority groups. However, the data shows that this is a massive mistake. In the United States, the collective buying power of African American, Hispanic, and Asian American consumers is currently estimated to be over $5 trillion. In a state like Arizona, where the Hispanic population makes up about 32% of the total residents, understanding these nuances isn’t just a social goal—it’s a business necessity.

By leading with a team that actually reflects these demographics, Obsidianworks can speak to these audiences with a level of precision that traditional agencies often miss. They understand the cultural references, the language nuances, and the values that drive purchasing decisions. This isn’t about “diversity for the sake of diversity”; it is about market intelligence. Brands like Nike and Spanx work with them because they know that Obsidianworks can deliver results that lead to actual sales and long-term brand loyalty among these high-growth demographics.

This focus on cultural power is something that Phoenix businesses can learn from. Our local market is incredibly diverse, and the businesses that succeed are the ones that take the time to truly engage with the different communities that make up the Valley. Whether it’s through targeted marketing or community-focused events, showing that you understand and value your customers’ backgrounds is the best way to build a loyal following. Obsidianworks has shown that when you combine cultural insight with high-level professional execution, the results are powerful.

Building the System Behind the Brand

The most important part of Jordan’s “machine” isn’t the name on the door; it is the system that keeps everything running. A creative agency needs a constant flow of new ideas, a reliable way to manage projects, and a deep network of connections. Building this takes time and a significant amount of discipline. You have to hire the right people, set up the right processes, and consistently deliver high-quality work. This is the “infrastructure” that the old model of celebrity business completely ignored.

When you own the system, you also own the data and the relationships. In the old endorsement model, the brand kept all the information about the customers. They knew who was buying the product and why. The celebrity was kept in the dark. With the Obsidianworks model, the agency is the one collecting the insights and building the relationships with the clients. This makes the agency more valuable over time because they are accumulating knowledge that can be applied to future projects. They aren’t just starting from scratch every time a new campaign comes along.

For a startup in Phoenix, this emphasizes the importance of building your own “pipes.” It’s great to use third-party platforms for marketing or sales, but you eventually want to own as much of your customer relationship as possible. Whether that’s through an email list, a proprietary app, or a direct-to-consumer model, owning the infrastructure gives you a level of security that you can’t get any other way. It allows you to weather the storms of changing algorithms and shifting market trends because you have a direct line to your audience.

The Evolution of the Creative Professional

The story of Michael B. Jordan and Obsidianworks is a sign of a broader change in how we think about creative work. In the past, there was a sharp divide between the “talent” and the “businesspeople.” The talent did the art, and the businesspeople handled the money. This divide often led to the talent being exploited or undervalued. Today, that wall is coming down. The most successful creative professionals are the ones who are also savvy business owners.

This doesn’t mean that every actor needs to start an advertising agency. But it does mean that every professional needs to think about how they can protect their interests and grow their value over time. It means understanding the terms of your contracts, looking for opportunities to take equity, and building a brand that stands for something more than just a paycheck. It’s about taking responsibility for your own career rather than waiting for someone else to tell you what to do.

In the Phoenix creative community, this is leading to a new wave of collaboration. We are seeing photographers, designers, and writers coming together to form collectives and small agencies. They are realizing that by pooling their resources and their talent, they can take on larger projects and build more sustainable businesses. They are moving away from the “starving artist” mentality and toward a model of creative entrepreneurship. This is a healthy and necessary evolution that will make our local economy stronger and more vibrant.

Practical Steps for Taking Ownership

If you are looking to move toward this ownership model, the first step is to change how you view your value. You aren’t just providing a service; you are providing a solution. Think about the “machine” you can build around your skills. If you are a consultant, can you turn your knowledge into a digital product or a training program? If you are a designer, can you start a subscription service or a boutique agency? The goal is to create something that has value beyond your own physical labor.

• Audit your current income streams and identify which ones are dependent on your time and which ones are scalable assets.
• Look for opportunities to negotiate for equity or a percentage of sales rather than just a flat fee for your work.
• Start building a team, even if it’s just a part-time assistant or a freelancer, to help you manage the operational side of your business.
• Focus on building a direct relationship with your audience or clients so that you aren’t dependent on a single platform or middleman.
• Invest in your own education, particularly in areas like finance and management, so that you can make informed decisions about your business.

These are the same principles that Jordan and Easterling used to build Obsidianworks. It started with a vision and a few key projects, and it grew into a fully independent agency that handles some of the biggest brands in the world. It didn’t happen overnight, and it required a significant amount of hard work and strategic thinking. But by staying focused on the goal of ownership, they were able to build something that is truly their own.

Looking Toward a Sustainable Future

The shift from endorsement to ownership is more than just a business trend; it is a movement toward a more equitable and sustainable future for creators. When talent owns the infrastructure, they have more control over the stories they tell and the brands they support. They can use their influence to drive positive change and to create opportunities for others. This is exactly what Jordan is doing with Obsidianworks by creating a space for diverse voices to lead the way in the marketing industry.

For Phoenix, this movement provides a roadmap for how we can continue to grow as a hub for creativity and innovation. By encouraging our local talent to think like owners, we can build a more resilient and diverse economy. We can move away from being a “branch office” city and toward being a place where the next global brands are born and managed. The talent is already here; we just need to provide the support and the inspiration for them to take that next step.

The age of the passive celebrity is over. We are entering the age of the creative mogul. It is an exciting time to be in business, and the lessons from Michael B. Jordan’s “brand machine” are applicable to anyone who wants to build something that lasts. By focusing on ownership, independence, and cultural power, you can create a business that doesn’t just participate in the culture but actually helps to shape it. The future belongs to those who own the system, and it is time for the creators of the Valley to start building their own.

The journey of Obsidianworks shows that the greatest value isn’t found in being the face that everyone recognizes, but in being the mind that everyone respects. It is about the quiet work that happens behind the scenes—the strategic planning, the team building, and the operational excellence. That is where the real “magic” of the brand machine happens. As more people embrace this mindset, the traditional boundaries of fame and business will continue to dissolve, creating a more dynamic and inclusive economy for everyone.

We see this happening in our own neighborhoods, from the coworking spaces in Tempe to the redevelopment projects in the West Valley. People are taking charge of their destinies and building things that matter. Michael B. Jordan may be a global superstar, but his strategy is accessible to anyone with the drive to pursue it. The blueprint is available, the tools are at our fingertips, and the market is ready for a new generation of owners to take the lead. It is time to stop being just the face and start building the machine.

For a long time, the peak of success for any actor or athlete was landing a major endorsement deal. We have all seen the commercials where a famous face holds up a product, smiles for the camera, and walks away with a massive paycheck. This exchange was simple: the brand bought the celebrity’s fame, and the celebrity rented out their image for a few months. However, Michael B. Jordan has spent the last few years quietly dismantling this old way of doing business. Through his agency, Obsidianworks, he has shown that the real power doesn’t come from being the face of a brand, but from owning the company that builds the brand itself.

Obsidianworks, co-founded with Chad Easterling, recently made headlines by going fully independent in 2025. By buying out their minority partner, 160over90, Jordan and Easterling took total control of their creative engine. This agency isn’t just a small side project; it is a serious player in the marketing world, handling massive cultural moments like Instagram’s Met Gala presence and Nike’s activations during NBA All-Star Weekend. Even luxury brands like Spanx have turned to them for high-stakes events like their 25th anniversary at Art Basel. This move signals a massive shift in how public figures view their long-term value.

In Orlando, a city known for its massive entertainment footprint and a growing community of creators, this shift feels incredibly relevant. People often associate Orlando only with theme parks and tourism, but the city is home to a vast network of digital creators, athletes, and independent artists who are looking for ways to make their mark. The lesson from Obsidianworks is clear: if you want to build something that lasts, you have to stop trading your time for a one-time fee and start building your own infrastructure. It is the difference between being a guest at the party and owning the venue.

The Realities of the Modern Attention Economy

The traditional celebrity business model was built on the idea that fame is a finite resource. You make as much money as you can while you are young and popular, and then you retire on those earnings. But the digital age has changed the rules. Attention is more fragmented than ever, and audiences are much smarter about when they are being “sold” something. A generic commercial often falls flat because it lacks a genuine connection to the person on screen. This is where the Obsidianworks approach changes the game. Because they are “culture-powered,” they understand the nuances of what people actually care about.

By owning the creative agency, Michael B. Jordan ensures that every project he touches is handled with a level of authenticity that a traditional corporate agency might miss. When Nike or the NBA works with Obsidianworks, they aren’t just getting an actor’s approval; they are getting a strategic partner who understands the pulse of the audience. This creates a much more sustainable business model. While an acting career might have its ups and downs, a creative agency that consistently delivers results for global brands is an asset that grows in value over time regardless of who is currently topping the box office charts.

Orlando’s local economy is seeing a similar evolution. From the tech startups in Lake Nona to the creative studios in the Milk District, there is a growing realization that owning the “machine” is the only way to achieve true independence. Local influencers and business owners are beginning to see that their personal brand is just the entry point. The real work happens when you build systems—like media production houses or consulting firms—that can operate even when you aren’t the one standing in front of the lens.

Shifting from Endorsements to Scalable Platforms

One of the most interesting developments following the independence of Obsidianworks is Chad Easterling’s launch of a strategic advisory. This service is specifically designed to help high-profile talent move away from being a “face” and toward becoming a “platform.” This involves more than just picking better sponsors. It means creating media companies, setting up investment vehicles, and pursuing deals that offer equity instead of just cash. This is a complete overhaul of the talent-manager relationship.

For someone starting out in Orlando’s creative scene, the idea of a “scalable platform” might sound like corporate jargon, but it is actually a very simple concept. It means creating something that can grow without requiring more of your physical presence. If a filmmaker only makes money when they are on set, they aren’t scalable. But if that filmmaker owns a production company that employs five other directors, they have built a platform. Michael B. Jordan’s agency is the ultimate example of this. It uses his cultural influence as a spark, but the agency’s success is driven by its ability to execute professional-grade work for clients like Spanx and Instagram.

This shift requires a change in mindset. It forces talent to think like entrepreneurs rather than performers. They have to worry about things like hiring the right team, managing client expectations, and staying ahead of industry trends. It is more work, certainly, but the rewards are much higher. Instead of a 10% commission on a one-off deal, they are building a business that could eventually be worth hundreds of millions of dollars. We are seeing more and more athletes and artists in Central Florida take this path, investing in local real estate or launching their own product lines rather than just waiting for the next sponsorship offer.

Diversity and Representation as Business Strengths

A major part of the Obsidianworks story is the focus on culture. In the past, diversity in marketing was often treated as a checkbox or a PR requirement. For Jordan and Easterling, it is the core of their business strategy. They recognized that the traditional marketing world often failed to speak effectively to diverse audiences because the people making the decisions didn’t share those audiences’ lived experiences. By building an agency led by people of color, they created a competitive advantage that major brands were desperate to tap into.

The numbers back up why this matters. According to various industry reports, diverse consumers often drive the trends that eventually become mainstream. In the United States, the buying power of Black, Hispanic, and Asian American consumers has been growing at a rate significantly higher than the national average. Specifically, Hispanic buying power in states like Florida is a massive economic driver. An agency that understands these communities from the inside is naturally going to be more effective at creating campaigns that resonate.

Orlando is a perfect example of a city where cultural diversity isn’t just a statistic; it is the daily reality. With one of the fastest-growing Hispanic populations in the country and a vibrant mix of cultures from across the Caribbean and South America, the “one-size-fits-all” marketing approach is dead. Local businesses that want to succeed need to understand how to speak to these different groups with genuine respect and insight. Obsidianworks has set a high bar for what this looks like on a national level, proving that cultural fluency is one of the most valuable assets a modern business can possess.

Building the Machine in Your Own Backyard

You don’t have to be a Hollywood superstar to start applying these principles. The core of the “Jordan Model” is about identifying what you are uniquely good at and building a structure around it. For an Orlando-based creator, this might mean moving away from doing “shout-outs” for brands and instead launching a specialized agency that helps those brands reach a specific niche. It is about moving from being a service provider to being a strategic partner.

The move toward independence is also a reaction to the limitations of the “gatekeeper” era. Historically, if you wanted to reach a large audience, you had to go through a studio, a record label, or a massive advertising firm. Today, the tools of production are more accessible than ever. You can build a high-quality media company from an office in Downtown Orlando or a home studio in Winter Park. The barrier to entry isn’t the technology; it is the willingness to take the risk of ownership.

Independence brings its own set of challenges, though. When Michael B. Jordan bought out his partner, he took on 100% of the responsibility for the agency’s future. There is no corporate safety net to fall back on if a major client leaves. However, this pressure often leads to better work. When your own name and capital are on the line, you are more likely to push for excellence and innovation. This is the grit that defines successful entrepreneurs in any industry, and it is a quality that the Orlando business community has in spades.

The Importance of Strategic Partnerships

While the goal is independence, no one builds a “brand machine” entirely alone. The partnership between Michael B. Jordan and Chad Easterling is a great example of how different skill sets can complement each other. Jordan brings the vision, the cultural access, and the high-level relationships. Easterling brings the operational expertise, the strategic planning, and the ability to turn a creative idea into a profitable business model. This balance is what allowed Obsidianworks to scale as quickly as it did.

Many people make the mistake of trying to do everything themselves. They want to be the creative lead, the accountant, the salesperson, and the social media manager. This is a recipe for burnout, not growth. The real key to building a scalable business is finding partners who can handle the areas where you are weak. If you are an artist in Orlando, your best move might be finding a business-minded partner who can handle the contracts and client management while you focus on the work. This allows the business to grow much faster than if you were working in a vacuum.

Strategic partnerships also extend to the clients you choose to work with. Obsidianworks didn’t just take any job that came their way. They focused on high-visibility, culturally significant projects that would build their reputation. By working with brands like Nike and Instagram, they positioned themselves as the go-to agency for the biggest stages in the world. For a local business, this means being selective. It’s better to have three clients who truly value your work and help you grow than ten clients who view you as a cheap, replaceable vendor.

Economic Shifts in the Talent Industry

The traditional way that talent was compensated is being disrupted. For a long time, the “talent” was seen as an expense for a brand—a cost of doing business. But in the new model, the talent is an investor. This is a fundamental change in the economic structure of the entertainment and marketing industries. When a celebrity takes equity in a company, they are betting on themselves. They are saying, “I believe my involvement will make this company so much more valuable that I’d rather have a piece of the future profits than a check today.”

This approach has a massive upside. If the company is sold or goes public, that equity could be worth ten or twenty times what a traditional fee would have been. We have seen this happen with beverage brands, clothing lines, and tech startups. It is the path to “generational wealth,” a term often used in the Black community to describe building assets that can be passed down to children and grandchildren. By building Obsidianworks, Michael B. Jordan isn’t just making money for himself; he is building an institution that has value beyond his own lifetime.

In Orlando, this long-term thinking is starting to take hold. We are seeing more local entrepreneurs focus on building businesses with the intent to sell them or pass them on, rather than just using them as a source of immediate income. This shift toward “asset-building” is a sign of a maturing economy. It shows that the local community is moving past the “hustle” phase and into the “legacy” phase. The inspiration provided by figures like Jordan helps normalize this ambition and provides a practical roadmap for how to achieve it.

The End of the “Face Only” Era

We are witnessing the slow death of the passive celebrity. The public is no longer interested in seeing someone stand next to a product they clearly don’t use or understand. Consumers want to know that the people they follow are actually involved in the things they promote. This is why “creator-led” brands are consistently outperforming traditional corporate brands in terms of engagement and growth. When Michael B. Jordan talks about a campaign his agency created, there is a level of pride and detail that you just don’t get from someone who was hired for a day of shooting.

This demand for involvement is a huge opportunity for anyone with an audience. Whether you have 1,000 followers or 1 million, your value isn’t just in your reach; it’s in your perspective. If you can help a business solve a problem or reach a new audience in a way that feels real, you have more power than you realize. The key is to stop asking for permission to be involved and to start building the structures that make your involvement indispensable.

The Orlando creative scene is uniquely positioned to take advantage of this. The city has a high density of talented people who are used to working in collaborative, high-pressure environments. From the world-class production crews at Universal and Disney to the independent filmmakers and designers working throughout the city, there is a wealth of untapped potential. By shifting the focus toward ownership and agency, these individuals can turn Orlando into a powerhouse of creator-led business.

Adapting to a Culture-First World

Obsidianworks calls itself a “culture-powered” agency because they know that culture is the most powerful force in the market. It’s what determines what music people listen to, what clothes they wear, and what apps they use. If you aren’t plugged into the culture, your marketing will always feel like it’s lagging behind. But culture moves fast. What was popular six months ago might be forgotten today. This is why staying independent is so important for an agency like this; it allows them to pivot quickly as the cultural conversation shifts.

Staying “plugged in” isn’t about following every trend on social media. It’s about understanding the underlying values and motivations of different groups of people. It’s about knowing why certain moments resonate and others don’t. For Michael B. Jordan, this comes naturally because he is an active participant in the culture he is marketing to. He isn’t observing from a distance; he is in the middle of it. This gives him an “ear to the ground” that no amount of market research can replicate.

For businesses in Central Florida, this means spending more time listening to the local community. It means showing up at local events, supporting local artists, and understanding the specific vibes of neighborhoods like Thornton Park or Ivanhoe Village. You can’t fake cultural fluency. You have to earn it by being present and engaged. Once you have that understanding, you can use it to build brands that don’t just sell products, but actually add something meaningful to the lives of the people who use them.

The Role of Strategic Advisories

As more people try to follow this path, the role of strategic advisories like the one launched by Chad Easterling will become more important. Transitioning from a talent to a business owner is difficult. There are legal hurdles, financial risks, and management challenges that most creative people aren’t trained to handle. An advisory acts as a guide, helping talent avoid common mistakes and navigate the complex world of business deals and equity negotiations.

This highlights a broader trend: the professionalization of the creator economy. We are moving away from the “wild west” era where deals were made on a whim. Today, things are more structured, more data-driven, and more focused on long-term sustainability. This is a good thing for everyone involved. It means more security for the talent and more reliable results for the brands. It also creates a whole new category of jobs for people who can bridge the gap between the creative world and the business world.

In Orlando, we are seeing a rise in these “hybrid” professionals—people who understand both the creative process and the bottom line. These are the people who will help build the next generation of Orlando-based media and marketing powerhouses. By providing the strategic backbone for creative visionaries, they are making it possible for the city to compete with traditional hubs like New York or Los Angeles.

Looking Toward the Future of Creative Work

The story of Obsidianworks is more than just a business success story; it is a glimpse into the future of work for everyone in the creative industry. It suggests a world where the lines between creator and owner are permanently blurred. In this future, the most successful people will be those who can not only produce great content but also build the systems that distribute and monetize that content. It is a world that values independence, authenticity, and strategic thinking above all else.

For the average person, this shift is exciting because it leads to better, more interesting content. When the people behind the brands actually care about the culture they are representing, the results are always more compelling. We get to see activations like the Spanx Art Basel event or the Instagram Met Gala project that feel like genuine creative expressions rather than just ads. This raises the bar for the entire industry and makes the world of marketing a little more human.

For the creators in Orlando, the message is one of hope and opportunity. The “Jordan Model” proves that you don’t have to wait for someone to give you a chance; you can create your own. You can build your own agency, launch your own platform, and take control of your own destiny. It isn’t easy, and it won’t happen overnight, but the blueprint is there. All it takes is the courage to stop being just a face and start being the machine.

The 2025 landscape of celebrity and business is a far cry from where things stood just a decade ago. The focus has moved from the short-term win to the long-term legacy. Michael B. Jordan and Obsidianworks are at the forefront of this change, proving that when you own the infrastructure, you own the future. As we watch this model continue to spread, it will be fascinating to see how it reshapes not only Hollywood but every creative community from the coast of California to the heart of Central Florida.

Ultimately, this isn’t just about Michael B. Jordan. It is about a fundamental change in how we value influence and creativity. It is about recognizing that the “system” behind the brand is where the real impact happens. By prioritizing ownership, Jordan has set a new standard that will inspire a generation of entrepreneurs to think bigger, work harder, and build something that truly belongs to them. The age of the endorsement might be fading, but the age of the owner is just beginning.

For Orlando, this is an invitation to step up and join the conversation. The city has the talent, the diversity, and the entrepreneurial spirit to lead in this new era. By looking at the success of Obsidianworks, local creators can find the inspiration they need to stop trading their fame for fees and start building their own machines. The spotlight is great, but the view from the owner’s suite is even better.

For decades, the relationship between celebrities and big brands followed a predictable script. A famous face would sign a contract, record a few commercials, post a handful of photos on social media, and collect a check. This was the era of the endorsement. While lucrative, it was a temporary arrangement. Once the contract ended, the celebrity walked away with cash, but the brand walked away with the lasting equity, the customer data, and the actual infrastructure of the business. We are currently seeing a massive departure from that old way of doing things, and Michael B. Jordan is at the center of this transformation through his agency, Obsidianworks.

The recent news that Obsidianworks has gone fully independent after buying out its minority partner, 160over90, marks a specific turning point. This isn’t just about an actor starting a side project. It is about a fundamental change in how influence is managed. Michael B. Jordan and his co-founder Chad Easterling have spent years building a creative powerhouse that doesn’t just represent brands but actually builds the cultural moments that define them. By taking full control of the agency in 2025, they have signaled that the most valuable asset a public figure can have isn’t a fan base—it is the ownership of the systems that communicate with that fan base.

In a city like Miami, where the intersection of luxury, sports, and entertainment is more visible than almost anywhere else in the world, this shift feels particularly relevant. Miami is a hub for high-profile talent who are increasingly looking for ways to plant roots that go deeper than a simple sponsorship deal. The move from being the face of the brand to being the owner of the agency creates a new standard for how business is conducted in the spotlight.

Moving Beyond the Traditional Endorsement Model

To understand why Obsidianworks matters, we have to look at what it replaced. In the past, a celebrity was essentially a high-priced freelancer. They were hired to perform a task—lending their image to a product—and their involvement usually stopped there. They had no say in the creative direction, no ownership of the intellectual property, and no stake in the long-term growth of the company they were promoting. This created a glass ceiling for talent. No matter how much money they made from fees, they were never building a scalable platform of their own.

Obsidianworks changes that dynamic by positioning the talent as the architect. Instead of waiting for a brand to approach them with a finished idea, Jordan and Easterling created a team that comes up with the ideas. They are the ones pitching the creative strategy to giants like Nike, the NBA, and Instagram. This puts them at the top of the food chain. When you own the agency, you aren’t just the person in the commercial; you are the person who hired the director, wrote the script, and decided which cultural trends to tap into. This level of control ensures that the creative output is authentic to the talent’s vision while building a real business that exists independently of their next movie or game.

Miami’s business landscape is uniquely suited for this type of evolution. With events like Art Basel and the growing influence of the tech and finance sectors in South Florida, the demand for sophisticated, culture-first marketing has never been higher. Brands are no longer looking for generic advertisements; they want activations that feel like a part of the local community. Obsidianworks proved they can do this with projects like the Spanx 25th anniversary at Art Basel, showing that they understand how to blend corporate objectives with the specific energy of a high-profile cultural event.

The Power of Independence in a Creative Economy

The decision to buy out a minority partner and go fully independent is a bold move that highlights a desire for total creative freedom. In the world of marketing agencies, being part of a larger conglomerate often means dealing with layers of bureaucracy and conflicting interests. By cutting those ties, Obsidianworks can move faster and take bigger risks. This independence is a reflection of a broader trend where creators are reclaiming their autonomy. They are realizing that the “middlemen” who used to be necessary for scale are now often just barriers to true innovation.

Chad Easterling’s role in this partnership is crucial. While Jordan provides the cultural weight and the vision, Easterling handles the strategic heavy lifting. Together, they have moved Obsidianworks into a space where they are solving complex problems for brands. When Instagram needed a way to make the Met Gala feel accessible and culturally relevant to a digital-first audience, they didn’t just want a celebrity host; they wanted a strategy. Obsidianworks delivered a creative activation that bridged the gap between the exclusive world of high fashion and the broader digital community. This is a level of service that traditional talent agencies aren’t usually equipped to provide.

This model is now being used as a template for other high-profile individuals. Easterling has launched a strategic advisory specifically aimed at helping other talent make this same transition. The goal is to move away from trading time for money. Instead, the focus is on building media companies, investment vehicles, and equity-driven ventures. For a professional athlete living in Coral Gables or a musician based in Miami Beach, this represents a new way to think about their career longevity. It is about building a machine that continues to generate value even when they are no longer in the public eye every day.

Building Infrastructure Over Image

Ownership is the keyword here, but infrastructure is the actual engine. It is one thing to say you own a company; it is another thing entirely to have a functioning agency with employees, clients, and a track record of success. Michael B. Jordan didn’t just put his name on a building. He participated in the hard work of proving that his agency could compete with the best in the world. This involved winning accounts based on the quality of the work, not just the fame of the founder.

The “brand machine” mentioned in the industry discourse refers to this ability to repeatedly produce high-quality creative work. Obsidianworks has demonstrated that it can handle massive projects like the Nike x NBA All-Star Weekend. These are high-stakes environments where there is no room for error. By successfully executing these campaigns, the agency has built a reputation for reliability and cultural fluency. This is what makes a business scalable. It isn’t dependent on one person’s schedule; it is a system that works because the people and processes inside it are effective.

In Miami, we see a lot of people trying to build personal brands, but there is a distinct difference between a personal brand and a business infrastructure. A personal brand is tied to your identity. If you stop posting, the brand disappears. A business infrastructure, like an agency or a media company, has its own life. It has assets, it has a client list, and most importantly, it has a resale value. This is the difference between being a star and being a mogul.

Strategic Advisory and the Evolution of Talent

The launch of Chad Easterling’s new advisory service suggests that the demand for this “ownership model” is exploding. There are hundreds of celebrities, athletes, and influencers who have realized that they are being undervalued in traditional deals. They see the massive exits that people like Ryan Reynolds or George Clooney have had with their spirits companies and they want a piece of that action. However, not everyone has the expertise to build a company from the ground up. This is where the advisory comes in, acting as a bridge between fame and business success.

This advisory work focuses on several key pillars that are essential for long-term growth:

• Developing media companies that can produce original content and control the narrative around the talent’s projects.
• Establishing investment vehicles that allow talent to put their capital into early-stage companies where they can add value through their influence.
• Negotiating equity-driven ventures where the talent receives a percentage of the company rather than just a flat fee for their services.
• Creating operational teams that handle the day-to-day management of these business interests, allowing the talent to stay focused on their primary career.

This structured approach is designed to turn a moment of peak fame into a decades-long business empire. In Miami’s fast-paced economy, where trends can change overnight, having a diversified portfolio of business interests is a necessary form of protection. It allows a person to weather the ups and downs of the entertainment industry by having multiple streams of income that they actually control.

The Role of Cultural Power in Modern Marketing

Obsidianworks describes itself as a “culture-powered” agency. This is more than just a buzzword; it is a recognition that traditional advertising is failing to reach modern audiences. People are increasingly skeptical of polished, corporate messaging. They want to connect with brands that feel like they understand the world they live in. Because Michael B. Jordan and his team are deeply embedded in the culture, they have an intuitive sense of what will resonate and what will fall flat.

This cultural fluency is particularly important when dealing with diverse audiences. Miami is one of the most culturally diverse cities in the United States, and brands often struggle to speak to its various communities in a way that feels genuine. An agency that understands the nuances of different cultural groups can create campaigns that feel like a conversation rather than a lecture. This is why Obsidianworks has been so successful with activations like the Instagram Met Gala project—they know how to make high-concept ideas feel relevant to a wide range of people.

When a brand works with Obsidianworks, they aren’t just buying ad space; they are buying access to a specific perspective. This perspective is informed by the lived experiences of the founders and their team. It is a perspective that values authenticity over perfection. In an age where every mistake is magnified on social media, having a creative team that can navigate these cultural waters is incredibly valuable. It prevents brands from making tone-deaf mistakes and helps them build a deeper level of connection with their customers.

Real World Impact and the Miami Connection

The influence of Michael B. Jordan’s business model can be seen in the way Miami-based entrepreneurs and creators are approaching their own ventures. We are seeing a rise in “creator-led” businesses across the city, from fashion labels in the Design District to tech startups in Wynwood. These founders are taking a page out of the Obsidianworks playbook by focusing on ownership and creative control from day one. They aren’t looking for investors to take over their vision; they are looking for partners who can help them scale what they’ve already built.

Miami has always been a place that rewards ambition and reinvention. It is a city where someone can arrive as a performer and leave as a developer. The success of Obsidianworks provides a modern roadmap for that journey. It shows that you don’t have to choose between being an artist and being a businessman. In fact, the two roles can feed into each other. The more successful Jordan is as an actor and director, the more weight his agency carries. The more successful the agency is, the more freedom he has to choose the creative projects he actually cares about.

This synergy is what makes the new model so powerful. It creates a virtuous cycle where every success builds upon the last. For the general public, this means that the people they follow and admire are becoming more than just entertainers; they are becoming leaders in the business world. They are creating jobs, driving innovation, and changing the way we think about the relationship between fame and commerce.

Ownership as a Form of Legacy

When we talk about shifting from endorsements to ownership, we are ultimately talking about legacy. An endorsement deal is a transaction; it ends when the money is spent. Ownership is an asset; it can be passed down, sold, or grown over time. For Michael B. Jordan, Obsidianworks is a way to ensure that his influence has a lasting impact on the industry. It is a way to open doors for other creative professionals of color and to create a more equitable landscape in the world of marketing and advertising.

The statistics in the advertising industry have historically shown a lack of diversity at the executive level. By founding and owning his own agency, Jordan is directly addressing this imbalance. He is creating a space where diverse voices are not just invited to the table but are actually running the meeting. This is a practical and effective way to drive change. Instead of asking for a seat at someone else’s table, he built his own table and invited others to join him.

This aspect of the story is particularly resonant in Miami, a city with a rich history of immigrant and minority-owned businesses. The spirit of entrepreneurship is woven into the fabric of the community. Seeing a high-profile figure like Jordan prioritize ownership sends a powerful message to the next generation of Miami’s business leaders. It reminds them that the goal isn’t just to be successful within the existing system, but to have the courage to build a new system entirely.

Practical Shifts in the Industry

As Obsidianworks continues to grow, we can expect to see more brands moving away from traditional agencies and toward these talent-led firms. The reason is simple: talent-led agencies have a direct line to the audience. They don’t need to do focus groups to understand what people are thinking because they are already engaged with those people every day. This direct connection reduces the risk for brands and leads to more effective marketing.

We are also seeing a change in how contracts are structured. More and more, talent is asking for equity as part of their compensation. They want to be partners in the brands they promote. This aligns the interests of the talent and the brand in a way that a flat fee never could. If the company succeeds, the talent succeeds. This leads to a higher level of commitment and a more authentic partnership. It is no longer about doing the bare minimum required by a contract; it is about doing whatever it takes to help the business grow.

In Miami’s luxury market, this is becoming the standard. Whether it’s a new real estate development or a high-end restaurant, the most successful projects are often those where the celebrity “ambassador” is actually a co-owner or a significant stakeholder. This skin in the game makes all the difference in the world. It builds a level of trust with the consumer that cannot be bought with an advertising budget alone.

The Scale of Modern Creative Agencies

One of the misconceptions about talent-led agencies is that they are small “boutique” firms that only handle minor projects. Obsidianworks has thoroughly debunked this idea. By managing major activations for global brands like Nike and Instagram, they have shown that they can operate at the highest level of the industry. They have the staff, the resources, and the technical expertise to execute complex, multi-channel campaigns.

This ability to scale is what makes the agency a real business platform. It isn’t just a vehicle for Michael B. Jordan’s personal projects; it is a competitive player in the global marketing landscape. This is a crucial distinction. To be a scalable business, the company must be able to deliver value that is independent of the founder’s personal brand. Obsidianworks does this by employing a team of top-tier creative and strategic talent who bring their own expertise to the table.

The infrastructure they have built allows them to take on multiple large-scale projects simultaneously. This is the “brand machine” in action. It is a repeatable, sustainable process for creating cultural impact. For businesses in Miami looking to make a splash on the national or international stage, working with an agency that has this level of proven capability is a significant advantage. It offers a way to tap into the latest trends and technologies while maintaining a grounded, authentic voice.

Looking Toward a New Standard of Celebrity Business

The story of Obsidianworks is still being written, but the impact it has already had on the industry is undeniable. It has provided a new template for how talent can leverage their fame to build something lasting. It has challenged the traditional power structures of the marketing world and shown that independence is a viable and attractive path. Most importantly, it has shifted the conversation from “how much can I get paid?” to “how much can I own?”

This shift is part of a larger movement toward decentralization and individual empowerment. In the past, you needed a giant corporation to reach a global audience. Today, you need a smart team and a clear vision. Michael B. Jordan and Chad Easterling have proven that with the right strategy, a small, independent agency can compete with—and beat—the established giants. This is a message of empowerment that resonates far beyond Hollywood or the advertising world.

In Miami, where the culture of “hustle” is celebrated, the Obsidianworks model is being watched closely. It represents a more sophisticated version of the entrepreneurial spirit that has always defined the city. It is about working smarter, not just harder. It is about building systems that work for you, rather than being a cog in someone else’s machine. As more talent follows this path, we will see a fundamental reshaping of the business landscape, with ownership and creative control at its heart.

The days of celebrities being passive participants in the economy are coming to an end. We are entering an era where they are the drivers of innovation, the owners of the infrastructure, and the architects of the culture. Obsidianworks is leading the charge, and the business world will never be the same. The focus has moved from the face of the brand to the system behind it, and that is where the real power lies.

Success in this new environment requires a combination of cultural intuition and hard-nosed business strategy. It requires the willingness to take risks and the discipline to build a solid foundation. Michael B. Jordan has shown that he has both. By building Obsidianworks into a brand machine, he has secured his place as a leader in the new creative economy. For those watching from Miami and beyond, the lesson is clear: don’t just participate in the culture—own the platforms that create it.

The ripple effects of this independence will likely influence how marketing agencies are valued and how talent agencies negotiate for their clients. We are seeing a blurring of the lines between talent management, creative production, and business consulting. This convergence is creating new opportunities for those who are brave enough to step outside the traditional boxes. It is an exciting time for the industry, and the lessons from Obsidianworks will be studied for years to come as the definitive guide to modern celebrity business.

As the 2025 landscape continues to evolve, the importance of having an independent voice cannot be overstated. In a world of constant noise, those who own the megaphone have the advantage. Obsidianworks has shown that the best way to ensure your voice is heard is to build the megaphone yourself. This is the ultimate goal of the ownership model: to have the freedom to speak your truth, the power to create your own opportunities, and the infrastructure to turn your vision into a reality that lasts.

The journey from actor to agency owner is a testament to the power of thinking big and acting with intention. It serves as a reminder that fame is a tool, not a destination. When used correctly, it can be the foundation for a business empire that changes the world. Michael B. Jordan has laid the groundwork, and the rest of the industry is now racing to catch up. The machine is running, the value is being generated, and the cameras are still rolling—but now, they are rolling on a system that he built from the ground up.

The Miami business community, with its unique blend of global reach and local heart, is perfectly positioned to embrace this change. Whether you are a creator, an entrepreneur, or a fan of the work, the story of Obsidianworks offers valuable insights into the future of commerce. It is a future defined by ownership, authenticity, and the courage to go independent. As we move forward, the focus will remain on those who are building the machines of tomorrow, today.

For decades, the standard path for a successful actor in Los Angeles followed a very predictable script. You would land a breakout role, hire a publicist, and wait for a luxury watch brand or an athletic wear giant to offer you a massive check to be the face of their next campaign. You would show up to a studio in Culver City, take some high-fashion photos, and perhaps record a thirty-second voiceover. The celebrity got a payday, the brand got a recognizable face, and everyone went home happy. But Michael B. Jordan decided that simply being the face of someone else’s company wasn’t enough to build a lasting legacy in today’s economy.

The recent evolution of Obsidianworks marks a significant turning point in how talent operates within the city’s creative ecosystem. By co-founding this agency alongside Chad Easterling, Jordan shifted his position from a hired hand to a primary stakeholder. When Obsidianworks went fully independent in 2025 after buying out its minority partner, it wasn’t just a financial transaction. It was a declaration that the new generation of Hollywood stars wants to own the infrastructure that creates culture, rather than just participating in it for a flat fee. This move represents a massive departure from the traditional talent-agency relationship that has defined Los Angeles for nearly a century.

Understanding this shift requires looking at the actual work Obsidianworks handles. They aren’t just managing Jordan’s personal brand; they are running massive activations for global entities like Instagram and Nike. When you see the intricate details of a Met Gala activation or the complex logistics of an NBA All-Star Weekend event, you are seeing the output of a specialized machine. This machine exists because Jordan and Easterling recognized that the “celebrity endorsement” was becoming a relic of a slower, less digital age. People in Los Angeles and beyond are now looking for authenticity that goes deeper than a signed contract.

The Architecture of Independent Creative Agencies

Independence in the agency world is a rare and difficult status to maintain, especially when competing against the massive conglomerates that dominate the industry. For a long time, the creative landscape was controlled by a handful of giant holding companies. If a celebrity wanted to start something, they usually did so under the umbrella of one of these giants. Obsidianworks choosing to buy out 160over90 and stand on its own feet signals a desire for total creative control. This allows the agency to move faster, take bigger risks, and keep a larger share of the value they create for their clients.

The physical and cultural geography of Los Angeles plays a huge role in why this model works here. The city is a melting pot of tech, fashion, sports, and traditional film media. When an agency like Obsidianworks operates independently, they can sit at the intersection of all these sectors without having to ask permission from a corporate headquarters in New York or London. They are working with Spanx at Art Basel or designing the vibe for high-profile sporting events because they understand the nuances of modern “cool” better than a traditional corporate board could ever hope to.

This autonomy changes the conversation with clients. Instead of a brand coming to an actor and asking, “Can we use your face?”, they come to the agency and ask, “How do we talk to this specific community?” Jordan’s involvement provides the initial spark and the high-level vision, but the agency provides the execution. This separation is vital. It means the business has a life of its own that doesn’t depend on whether Jordan is currently filming a movie or taking a break from the spotlight. It is a scalable platform that produces creative assets, strategy, and cultural impact daily.

Moving from Endorsements to Equity Systems

The traditional endorsement model is essentially a rental agreement. A brand rents a celebrity’s reputation for a year or two. Once the contract ends, the celebrity has the money, but the brand has the data, the customer relationships, and the long-term growth. Jordan’s approach with Obsidianworks turns that on its head. By owning the agency, he is building a firm that accumulates its own data, its own client list, and its own intellectual property. This is a system designed to generate value continuously.

Chad Easterling’s move to launch a strategic advisory further emphasizes this trend. He is now helping other high-profile individuals in Los Angeles navigate the transition from being a “face” to being a founder. This involves a complex mix of media companies, investment vehicles, and equity-driven ventures. In this new world, a basketball player or an actress might look at a potential partnership and ask for a percentage of the company or a seat on the board rather than a one-time payment. They want to be part of the “system” that makes the decisions, not just a line item in the marketing budget.

• Direct ownership of the creative process allows for faster pivots when cultural trends change.
• Building a team of specialists ensures that the business remains professional and scalable beyond the founder’s personal schedule.
• Independent agencies can choose their partners based on shared values rather than being forced into contracts by a parent company.
• This model provides a long-term career path that isn’t solely dependent on physical appearance or public popularity.

This structural change is visible across the Los Angeles business community. You see it in the way new media houses are being built in neighborhoods like Hollywood and the Arts District. It’s no longer about just having a production company that makes movies; it’s about having a full-service engine that can handle marketing, distribution, and brand partnerships. This level of vertical integration used to be reserved for the major studios, but now it’s becoming the gold standard for individual creators who want to stay relevant in a fragmented media world.

The Real World Impact on Los Angeles Talent

When a figure as prominent as Michael B. Jordan makes a move like this, it sends a ripple effect through the local talent pools. Young artists, designers, and strategists in Los Angeles are starting to realize that they don’t necessarily have to work for a legacy firm to have a massive impact. They can join these “culture-powered” agencies where their work is directly connected to the pulse of what’s happening in the streets and on social media. This creates a more vibrant and competitive job market for creative professionals in the city.

Furthermore, this shift is forcing traditional brands to change how they operate. They can no longer simply buy their way into a community by hiring a famous person. They have to engage with the agencies that actually hold the keys to those communities. Obsidianworks’ success with Instagram’s Met Gala activation proves that even the world’s biggest platforms need help navigating the complexities of modern culture. They need a partner who understands the language of the audience, and often, that partner is an agency founded by the very people who defined that culture in the first place.

The focus on Spanx’s 25th anniversary or Nike’s All-Star events shows that these agencies are capable of handling high-stakes, high-budget projects. This isn’t a “celebrity vanity project”; it’s a serious competitor in the professional services space. By hiring experts and building a robust internal structure, Jordan and Easterling have ensured that their agency can go toe-to-toe with any creative firm in the world. They have effectively bridged the gap between the glamour of Hollywood and the grit of high-level business operations.

Redefining the Creator Economy in Southern California

While the “creator economy” is often associated with teenagers making videos in their bedrooms, the Obsidianworks model shows the professionalized version of that concept. In Los Angeles, the lines between an “influencer,” a “celebrity,” and a “business mogul” are blurring. The city is becoming a hub for these hybrid companies that combine the reach of a star with the operational excellence of a Fortune 500 company. This is where the real growth is happening, and it’s where the most interesting career opportunities are opening up for residents of Southern California.

This evolution also demands a new set of skills. It’s no longer enough to be good at one thing. The people thriving in this environment are those who understand the technical aspects of marketing, the financial aspects of equity, and the artistic aspects of storytelling. Michael B. Jordan didn’t just learn his lines; he learned how the business of branding works. Chad Easterling didn’t just manage a star; he learned how to build a scalable advisory firm. This multidisciplinary approach is becoming the blueprint for success in the modern Los Angeles economy.

The move away from minority partnerships to full independence is perhaps the most telling part of the story. It indicates a confidence in the market and a belief that the “Obsidianworks” brand is strong enough to stand without the backing of a larger corporate entity. In a city where everyone is trying to “leverage” their connections, Jordan and Easterling are actually building something tangible. They are creating jobs, developing new ways for brands to interact with people, and proving that the old way of doing business in Hollywood is no longer the only way.

Scalable Business Platforms vs. One-Time Fees

If you look at the wealth of the most successful people in Los Angeles history, it rarely came from a salary. It came from owning assets. The transition Jordan is leading is essentially the democratization of asset ownership for talent. Instead of being an employee of a brand for six months, you become a partner in a venture or the owner of the agency that the brand hires. This changes the math of a career. A fee is spent, but an agency or a media company is an asset that can be sold, expanded, or passed down.

This is the core of what Easterling’s new advisory aims to teach. By moving into investment vehicles and equity-driven ventures, talent can ensure their financial security and their creative legacy. They are no longer at the mercy of whether a casting director likes them or whether a specific movie does well at the box office. They have a diversified portfolio of businesses that are constantly working. This is a much more stable way to exist in an industry that is notoriously fickle and unpredictable.

The success of Nike x NBA All-Star Weekend collaborations under the Obsidianworks banner is a perfect example of this scalability. These events require months of planning, hundreds of staff members, and a deep understanding of brand guidelines and fan expectations. Being able to execute at this level proves that the agency has moved far beyond the “celebrity-led” label. It is a legitimate player in the global marketing space, capable of managing some of the most important moments in the sports and fashion calendars.

Looking at the Cultural Fabric of Los Angeles

Los Angeles has always been a city of dreamers, but it is also a city of builders. From the early days of the aerospace industry to the rise of Silicon Beach, the region thrives when it finds new ways to organize talent and ideas. What Michael B. Jordan is doing with Obsidianworks is just the latest chapter in that history. He is taking the unique resources of this city—the creativity, the diverse population, and the proximity to global brands—and organizing them into a new kind of power structure.

This isn’t just about making money; it’s about who gets to tell the stories. When an agency is owned by people who are deeply embedded in the culture they are trying to reach, the resulting work feels different. It avoids the clichés and stereotypes that often happen when a disconnected corporate team tries to “act cool.” In Los Angeles, where culture is our biggest export, having local leaders like Jordan and Easterling at the helm of these creative engines is a significant win for the city’s global standing.

The Spanx project at Art Basel also highlights the agency’s ability to work across different demographics and industries. It shows that their “culture-powered” approach isn’t limited to one specific niche. They are applying their insights to luxury, fitness, tech, and entertainment. This versatility is what makes a business truly scalable. It allows them to survive shifts in the market and find opportunities in places where others might not be looking. It’s a testament to the fact that good strategy and authentic storytelling are universal, regardless of the product being sold.

The End of the Celebrity Endorsement as We Knew It

As we move further into the 2020s, the traditional “paid spokesperson” model will likely continue to fade. Consumers are too smart to believe that a celebrity uses a product just because they appeared in a commercial. They want to see a real connection. By owning the agency, Jordan isn’t just saying he likes a brand; he is putting his professional reputation and his company’s resources behind the work. This creates a level of accountability that doesn’t exist in a simple endorsement deal.

This shift is also better for the brands themselves. Working with an agency like Obsidianworks means they get access to a team that is personally invested in the success of the project. There is a shared goal of creating something that actually resonates with people. The results speak for themselves. The high-profile activations for Instagram and Nike aren’t just loud; they are effective. They move the needle because they are built on a foundation of genuine cultural understanding rather than just a celebrity’s social media following.

In the hills of Hollywood and the boardrooms of Santa Monica, the conversation is changing. It’s no longer about who can get the biggest paycheck for a sneaker deal. It’s about who can build the most robust creative engine. Michael B. Jordan has set a high bar, but he has also provided a roadmap for others to follow. By choosing ownership over endorsements, he has secured his place as a major player in the Los Angeles business world for years to come.

The independence of Obsidianworks is a sign of a maturing market. It shows that there is enough demand for authentic, culture-first creative work that a celebrity-founded agency can thrive without the safety net of a holding company. This is a bold move, but it’s one that matches the ambition of the city itself. Los Angeles has always been a place where people come to reinvent themselves, and Jordan has successfully reinvented the very idea of what a Hollywood star can be. He is no longer just an actor; he is a system builder, a founder, and a significant force in the future of global branding.

As more talent looks to replicate this success, we can expect to see a surge in independent, talent-led agencies across Southern California. This will lead to more competition, more innovation, and ultimately, better and more authentic content for audiences everywhere. The era of the passive celebrity is ending, and the era of the creative owner is just beginning. It’s a transition that will redefine the economic landscape of Los Angeles and change the way we think about the intersection of fame and business.

Ultimately, the story of Obsidianworks is about the power of self-determination. It’s about having the vision to see that your value is greater than the fee someone is willing to pay you. By building his own machine, Michael B. Jordan has ensured that he is the one pulling the levers. In a town where everyone is looking for their next big break, he went out and built his own stage. That is the most Los Angeles thing anyone can do.

For decades, the relationship between a high-profile figure and a brand followed a predictable script. A company would identify a face that resonated with their target demographic, cut a check, and film a commercial. The celebrity was essentially a high-end billboard, a temporary tenant in a brand’s house. While this model created massive wealth for individuals, it left them with very little long-term control. Once the contract ended, so did the influence and the revenue stream. We are currently witnessing the demolition of that old framework, replaced by something far more sophisticated and permanent. Michael B. Jordan’s trajectory with Obsidianworks represents the definitive blueprint for this new era.

Jordan didn’t just seek out more lucrative endorsement deals. Instead, he looked at the mechanism behind those deals and decided to own it. Alongside co-founder Chad Easterling, he built a creative agency that doesn’t just represent him, but defines the cultural narrative for some of the world’s largest corporations. This isn’t a vanity project or a side hustle. It is a full-scale infrastructure play. By acquiring the remaining shares from their former partner, 160over90, Obsidianworks has stepped into the arena as a fully independent powerhouse. This move signals a departure from being a participant in culture to becoming the architect of it.

In a place like Las Vegas, where the economy is built on the intersection of entertainment, hospitality, and massive brand activations, this shift is particularly relevant. The city thrives on the “show,” but the real money has always been in the “house.” Jordan is essentially becoming the house. This evolution matters because it changes the power dynamic between talent and the corporate world. It moves the conversation from hourly rates or flat fees to equity and long-term asset building. For the Las Vegas business community, which is accustomed to celebrity-driven marketing, this represents a new standard of partnership that demands more than just a red carpet appearance.

Building the Machine Beyond the Persona

The success of Obsidianworks lies in its ability to operate independently of Michael B. Jordan’s acting career. While his name certainly opens doors, the agency’s portfolio speaks to a deep understanding of modern consumer behavior. Handling Instagram’s activation at the Met Gala or Nike’s presence during the NBA All-Star Weekend requires more than star power; it requires a specialized set of creative and operational skills. These are complex, multi-layered projects that involve digital strategy, physical installations, and social media integration. By proving they can execute at this level, Jordan and Easterling have decoupled their value from a single personality.

This decoupling is the holy grail for any public figure looking to build a lasting legacy. If a business depends entirely on a person being in front of a camera, it is inherently limited by time and physical presence. An agency, however, can scale. It can take on multiple clients simultaneously. It can hire hundreds of employees and operate in dozens of cities. This is the difference between a job and an enterprise. When we look at the Las Vegas market, where residencies and long-term appearances are common, we can see the limitations of the traditional approach. A performer can only be on one stage at a time, but an agency can manage the branding for ten different venues across the Strip all at once.

Chad Easterling’s new strategic advisory is taking this concept even further. By helping other talent transition into scalable business platforms, he is effectively teaching the “new model” to the next generation of creators and athletes. This involves looking at media companies, investment vehicles, and equity-driven ventures as the primary goals, rather than secondary perks. It’s about building a portfolio that generates value 24 hours a day. In the context of Las Vegas, where many athletes and entertainers retire or set up shop, this advisory model offers a way to turn localized fame into a global business footprint.

The Realities of Cultural Agency Independence

Independence in the creative world is often discussed as a romantic ideal, but the reality is a rigorous challenge. Buying out a minority partner like 160over90 is a statement of financial confidence and strategic clarity. It means Obsidianworks is no longer beholden to the overhead or the broader corporate objectives of a parent company. They can move faster, take bigger risks, and keep a larger share of the rewards. This autonomy allows them to focus purely on “culture-powered” creative work, which is their specific niche. They aren’t trying to be everything to everyone; they are focusing on the intersection of diverse perspectives and mainstream brand storytelling.

This focus is exactly what brands are looking for in 2026. The days of generic, one-size-fits-all marketing are over. Companies need to feel authentic to specific communities without alienating the broader public. Obsidianworks has positioned itself as the bridge between those two worlds. Their work with Spanx at Art Basel is a prime example. Art Basel is a high-brow, exclusive environment, but Spanx is a widely accessible consumer product. Navigating that space requires a level of cultural nuance that traditional agencies often struggle to find. By owning the agency, Jordan ensures that his creative instincts are backed by a team that can execute them at the highest level of professionalism.

For entrepreneurs and marketers in Las Vegas, the independence of an agency like Obsidianworks provides a template for how to handle brand identity. Las Vegas is a city of layers, from the high-stakes gaming floors to the local arts districts. Understanding how to communicate across these different social and economic layers is the key to longevity. Jordan’s model suggests that the best way to maintain that understanding is to have a dedicated team that is fully aligned with your vision, rather than a rotating cast of third-party contractors who might not share the same level of commitment.

Ownership as the Ultimate Competitive Advantage

When a celebrity signs an endorsement deal, they are essentially renting out their likeness. The brand gets the benefit of the association, and the celebrity gets a fee. But at the end of the day, the brand owns the data, the intellectual property, and the customer relationship. Jordan’s approach flips this on its head. By owning the agency, he is the one collecting the data, building the IP, and managing the relationships. He isn’t just the face of the Nike campaign; his company is the one designing how that campaign lives in the world. This is a fundamental shift in where the power sits in the entertainment ecosystem.

This change has massive implications for the future of employment and creative work. We are seeing more people realize that being “the talent” is a precarious position. Whether you are a Hollywood actor or a specialized technician in a Las Vegas production, you are part of someone else’s machine. Jordan’s “machine” is built to sustain itself regardless of what his next movie role is. This creates a level of security and influence that no acting contract could ever provide. It also allows him to champion other voices and provide opportunities for a diverse range of creators who might have been overlooked by traditional Madison Avenue firms.

The Las Vegas business landscape is uniquely suited for this type of ownership-driven growth. The city is a hub for conferences, festivals, and major sporting events like the Formula 1 Grand Prix and the Super Bowl. These events require massive amounts of creative labor and strategic planning. If more talent followed Jordan’s lead, we would see a shift in who is running these events. Instead of outside firms flying in to manage the branding, we would see talent-led agencies with deep roots and vested interests in the outcomes. This would lead to more authentic experiences for the millions of people who visit Nevada every year.

Strategic Shifts in Celebrity Investment

The transition from fee-based work to equity-driven ventures is not just about ego; it’s about math. Taxes, management fees, and the short lifespan of most professional careers mean that a high salary is often less valuable than a smaller piece of a growing company. Jordan and Easterling are prioritizing the latter. By building Obsidianworks into a standalone entity, they have created an asset that can be sold, merged, or taken public in the future. This is how real wealth is created in the modern economy. It’s not about the money you make today; it’s about the value of the things you own.

Looking at the broader trend, we see more athletes and entertainers becoming venture capitalists and startup founders. However, many of these efforts are still somewhat passive. They might put money into a tech company, but they aren’t necessarily involved in the day-to-day operations. Obsidianworks is different because it is an active business. It requires management, talent acquisition, and client service. This active involvement gives Jordan a seat at the table in rooms where actors are usually not invited. He is talking to CEOs as a fellow business owner, not as a hired hand. This changes the nature of the conversation and the opportunities that arise from it.

In Las Vegas, this active ownership model can be seen in the way some of the most successful restaurateurs and nightclub owners operate. They didn’t just put their names on the door; they built the systems that make the business work. They understand the margins, the supply chains, and the customer service protocols. When you combine that level of operational knowledge with the reach of a global superstar, the results are explosive. This is what Obsidianworks is doing for the creative world, and it’s a lesson that every ambitious professional in Nevada should be paying attention to.

The Role of Culture in Modern Branding

One of the most used and misunderstood words in business is “culture.” Many people treat it as a buzzword, but for Obsidianworks, it is the core product. Culture is the collective set of values, aesthetics, and behaviors that define a group of people at a specific point in time. If a brand is out of sync with culture, it becomes irrelevant. Jordan’s agency specializes in making sure their clients stay relevant. This involves a constant process of listening, observing, and reacting to what is happening in music, fashion, sports, and social justice. It’s about being “in the room” where the trends are being set.

This cultural literacy is a competitive edge. Large, traditional agencies can often feel sterile or disconnected from the reality of the streets. Obsidianworks leans into its identity as a Black-owned, culture-first agency to offer a perspective that is both authentic and commercially viable. They understand how to speak to diverse audiences because they are part of those audiences. In a diverse city like Las Vegas, which welcomes visitors from every corner of the globe, this ability to communicate across cultural boundaries is invaluable. It’s what allows a brand to feel like it belongs in a high-end luxury mall as well as a local neighborhood hangout.

• Direct ownership of the creative process ensures brand consistency.
• Independence from larger holding companies allows for faster decision-making.
• Specialization in “culture-powered” marketing addresses a massive gap in the traditional agency model.
• Scalability is achieved by building a team that can perform without the founder’s constant presence.

The work done by Obsidianworks for Nike during All-Star Weekend is a perfect case study in this cultural fluency. It wasn’t just about selling sneakers; it was about celebrating the heritage of the game and its connection to the community. By creating experiences that felt meaningful to the fans, they built a deeper level of loyalty for the Nike brand. This is the kind of high-touch, high-impact marketing that is becoming the standard for major events in Las Vegas. Whether it’s a residency at a major resort or a tech product launch at CES, the goal is to create a moment that sticks in the memory of the consumer.

Transitioning from Face to Founder

The path that Chad Easterling is laying out for other talent is rigorous. It requires a mental shift from thinking about “the next gig” to thinking about “the next decade.” Most people are trained to maximize their short-term earnings, but the founder mindset requires delaying gratification to build something larger. This involves investing in the right people, building a solid legal and financial foundation, and being willing to fail in public. Jordan has shown a remarkable ability to handle this transition with grace. He hasn’t stopped acting, but his acting is now just one part of a much larger ecosystem.

For those in the Las Vegas business scene, this transition is a reminder that everyone has a brand, whether they realize it or not. The question is whether you are going to manage that brand or let someone else do it for you. Even for those who aren’t global celebrities, the principle of owning your infrastructure applies. It might mean owning your own salon instead of renting a chair, or starting your own consulting firm instead of working for a larger agency. The goal is to move up the value chain from being a laborer to being an owner. This is the most reliable way to build wealth and influence in any economy.

The strategic advisory aspect of Easterling’s work is also significant because it highlights the importance of mentorship and expert guidance. No one builds a machine like Obsidianworks alone. It requires a network of specialists who understand the nuances of intellectual property law, venture capital, and corporate governance. By creating a formalized way to share this knowledge, Easterling is accelerating the trend of celebrity ownership. We are likely to see an influx of talent-led companies entering the market in the coming years, many of which will be looking for opportunities in the high-growth environment of Nevada.

The Impact on the Creative Economy

When a company like Obsidianworks thrives, it creates a ripple effect throughout the entire creative economy. It provides jobs for writers, designers, producers, and strategists who want to work on high-stakes projects with a cultural focus. It also sets a higher standard for what a creative agency can be. Traditional agencies are being forced to adapt, becoming more nimble and diverse to compete with these new, talent-led firms. This competition is good for the industry as a whole, as it leads to more innovative work and better results for clients.

In Las Vegas, where the creative sector is a vital part of the economy, this is a positive development. The city has a deep pool of talent that has traditionally been focused on live performance and hospitality. As more agencies like Obsidianworks emerge, these creatives will have more opportunities to apply their skills to global brand strategy and digital content. This helps to diversify the local economy and reduce its dependence on any single industry. It also makes Las Vegas a more attractive place for young, ambitious professionals who want to be at the forefront of the new media landscape.

The shift towards ownership also means that more of the wealth generated by these projects stays with the creators. In the old model, the lion’s share of the profit went to the agencies and the media platforms. In the new model, the creators and the talent are capturing more of that value. This leads to a more equitable distribution of wealth within the creative industries. It also gives creators more freedom to pursue projects that they are truly passionate about, rather than just taking whatever work is available to pay the bills.

Reframing the Partnership Model

As we look at the work Obsidianworks has done with Instagram and Nike, it’s clear that the nature of corporate partnership is changing. Brands are no longer just looking for a spokesperson; they are looking for a strategic partner who can help them navigate a complex cultural landscape. This requires a level of trust and collaboration that goes far beyond a standard endorsement contract. It means sharing data, co-creating content, and being willing to take risks together. Jordan’s agency is built to be that kind of partner.

This new partnership model is especially relevant for the Las Vegas hospitality industry. Resorts and casinos are constantly looking for ways to differentiate themselves and attract new audiences. By partnering with talent-led agencies, they can create unique experiences that feel more authentic and engaging than a traditional marketing campaign. Imagine a hotel suite designed by a fashion-focused creative agency, or a restaurant concept developed by a media company. These types of deep, integrated partnerships are the future of the luxury market in Nevada.

The key to making these partnerships work is a clear alignment of interests. In the old model, the celebrity’s interest was simply to get paid. In the new model, the celebrity-owner has a vested interest in the long-term success of the project because their reputation and their company’s value are on the line. This alignment leads to better work, more innovation, and a stronger connection with the consumer. It’s a win-win for everyone involved, and it’s why we are seeing so many brands move in this direction.

Navigating the Risks of Independence

While the benefits of independence are clear, the risks are also substantial. When you own the machine, you are responsible for everything. If a campaign fails, it’s your name on the line. If the economy takes a downturn, you have to find a way to keep your employees paid. Jordan and Easterling have taken on a significant amount of responsibility by taking Obsidianworks fully independent. They are no longer protected by the safety net of a larger corporation. This requires a high level of financial discipline and a clear-eyed understanding of the market.

However, the risks of staying in the old model are arguably even higher. The media landscape is changing so rapidly that those who don’t own their infrastructure are at the mercy of the platforms and the corporations. We’ve seen how quickly algorithms can change, wiping out the reach of even the biggest stars overnight. By building an agency, Jordan has created a platform that he controls. He isn’t just relying on Instagram’s algorithm; he is the one helping Instagram decide how to present itself to the world. This is the ultimate form of risk management in the digital age.

For business owners in Las Vegas, the takeaway is that independence is a long-term play. It might be harder and more expensive in the short term, but it provides a level of control and security that you can’t get anywhere else. Whether you are navigating the complex regulations of the gaming industry or the fast-moving world of digital marketing, owning your assets and your systems is the best way to ensure your future. Jordan’s success with Obsidianworks is a powerful proof of concept for this strategy.

The Longevity of Culture-Powered Ventures

One of the most impressive things about Obsidianworks is the longevity of the brands they work with. Nike, Instagram, and Spanx are not fly-by-night operations. They are market leaders with decades of history. The fact that they trust a relatively young agency like Obsidianworks to handle their most important activations says a lot about the quality of the work. It also suggests that the “culture-powered” approach is not a fad. It is a fundamental shift in how branding works in the 21st century.

As the population becomes more diverse and more digitally connected, the importance of cultural nuance will only grow. Brands that can’t keep up will be left behind. Agencies that can bridge the gap between corporate objectives and cultural reality will be the most valuable players in the industry. Obsidianworks has positioned itself perfectly for this future. By focusing on high-quality, high-impact work, they are building a reputation that will last long after Michael B. Jordan’s acting career has entered a new phase. This is what it looks like to build a legacy.

In Las Vegas, we see the importance of longevity every day. The city is full of legendary brands that have survived for decades by constantly reinventing themselves. From the classic casinos of downtown to the mega-resorts of the Strip, the successful businesses are the ones that understand how to stay relevant to each new generation of visitors. Jordan’s approach to business is a modern version of this classic Vegas survival strategy. It’s about building a solid foundation, staying ahead of the trends, and always looking for the next opportunity to grow.

Practical Steps Toward Ownership

For those inspired by Jordan’s move, the question is how to start moving toward an ownership model. It begins with an audit of your current value. What are you bringing to the table, and who owns the results of your work? If you are a freelancer or an employee, you are likely trading your time for a fixed amount of money. The goal is to start finding ways to capture more of the value you create. This could mean asking for equity in a project, starting a side business that you own entirely, or investing in the tools and technology that allow you to work more independently.

The next step is to build a team. You don’t have to be a global superstar to benefit from having a group of trusted advisors and collaborators. This might include a good lawyer, an accountant who understands your industry, and a few key creative partners. Having this infrastructure in place allows you to take on bigger projects and move more quickly when opportunities arise. In a fast-paced city like Las Vegas, being able to move fast is a major advantage. The people who are ready to say “yes” to a big deal are the ones who have already built the system to handle it.

Finally, it’s about a change in mindset. You have to stop seeing yourself as a service provider and start seeing yourself as a business owner. This means thinking about things like overhead, profit margins, and long-term strategy. It means being willing to invest in yourself and your ideas, even when there is no immediate payoff. Jordan’s success didn’t happen overnight. It was the result of years of strategic planning and a willingness to step outside of his comfort zone. For anyone looking to make their mark in the Las Vegas business world, that is the most important lesson of all.

The rise of Obsidianworks is a clear sign that the old rules of celebrity and business are being rewritten. We are moving into a world where ownership is the only true form of influence. By building a machine that generates value independently of his personal brand, Michael B. Jordan has set a new standard for what is possible. Whether you are an actor, an athlete, or a local entrepreneur in Nevada, the message is clear: stop being just a face, and start building the system behind it. The future belongs to those who own the infrastructure.

This evolution in the business landscape reflects a broader societal shift toward autonomy and specialized knowledge. As we continue to navigate the complexities of a globalized economy, the ability to create and control one’s own platform will be the defining characteristic of success. The lessons from Obsidianworks apply far beyond the world of Hollywood and high-end marketing. They are universal truths for anyone who wants to build something that lasts. Las Vegas, a city built on big dreams and even bigger risks, is the perfect place to watch this new era of ownership unfold.

For decades, the path to success for a high-profile figure was predictable. You worked hard to become a household name, and once you reached that peak, the phone started ringing with endorsement deals. A watch company would pay you to wear their latest model in a glossy magazine ad. A soft drink brand would cut a check for a thirty-second television spot. This was the “fame for fees” model, and while it made people rich, it rarely made them powerful in the long term. Today, we are seeing a fundamental break from that tradition, led by figures like Michael B. Jordan and his creative agency, Obsidianworks.

In Houston, a city that prides itself on entrepreneurship and self-made success, this shift feels particularly relevant. Whether it is in the world of sports, music, or corporate leadership, the goal is moving away from being a hired hand. The new objective is owning the infrastructure. Michael B. Jordan didn’t just want to be the face of a Nike campaign; he wanted to own the company that creates the strategy for that campaign. By co-founding Obsidianworks with Chad Easterling, he effectively moved from the talent trailer to the boardroom, creating a scalable business that operates independently of his filming schedule.

The recent news that Obsidianworks has gone fully independent after buying out its minority partner, 160over90, marks a significant milestone. It signals that this isn’t just a vanity project. It is a legitimate, culture-powered creative engine that handles massive accounts like Instagram’s Met Gala activations and Nike’s NBA All-Star Weekend presence. This is a massive leap from the standard celebrity “creative director” title, which is often more about marketing than actual management. This is about real equity and real decision-making power.

Moving from the Spotlight to the Boardroom

When we look at the history of celebrity business, it was usually a story of licensing. An athlete would lend their name to a line of sneakers or a rapper would put their logo on a bottle of spirits. The problem with those deals is that the celebrity is still a guest in someone else’s house. If the parent company decides to go in a different direction, the celebrity is left with nothing but a final paycheck. Obsidianworks represents a different philosophy. By building an agency, Jordan and Easterling have created a service-based business that builds value through its work, its staff, and its intellectual property.

For the Houston community, where the spirit of “hustle” is often discussed in terms of real estate and small business, this high-level move offers a blueprint for scaling influence. It is about realizing that fame is a perishable commodity. If you don’t convert that temporary attention into a permanent business structure, you are always one missed season or one bad movie away from financial stagnation. The “machine” that Jordan built is designed to generate value long after the cameras stop rolling. It’s a transition from being the product to being the producer.

Chad Easterling’s role in this is equally fascinating. He is now launching a strategic advisory specifically designed to help other talent make this same transition. This suggests that there is a growing demand among the elite to stop trading time for money. They want to evolve into scalable platforms. This might involve media companies, investment vehicles, or equity-driven ventures where the celebrity’s role is that of a founder and owner rather than just a spokesperson.

Why Creative Agencies are the New Power Play

Creative agencies are the gatekeepers of culture. They decide how a brand speaks to its audience, what visuals are used, and which events are worth sponsoring. By owning an agency like Obsidianworks, Jordan has positioned himself at the very start of the marketing process. Instead of waiting for a brand to ask him to be in an ad, his company is the one telling the brand how to spend its multimillion-dollar budget. This creates a level of influence that a simple acting contract could never provide.

This model is particularly interesting when applied to events like the Nike x NBA All-Star Weekend or Spanx’s 25th anniversary. These are high-stakes environments where culture and commerce collide. Having an agency that understands the nuances of the audience allows Jordan and his team to deliver results that traditional, “stiff” agencies might miss. They aren’t just guessing what is cool; they are actively shaping it through their lived experience and professional expertise.

Houston has seen its share of local icons try to break into the business world, with varying degrees of success. The ones who thrive are usually those who build a team of experts around them and focus on the technical side of the business. Jordan didn’t try to run Obsidianworks alone. He partnered with Easterling, a seasoned professional who understands the mechanics of the industry. This partnership is the secret sauce that turns a celebrity side-hustle into a dominant market player.

The Mechanics of Going Independent

Buying out a partner like 160over90 is a bold move. It requires significant capital and a high level of confidence in the agency’s future performance. Independence means that Obsidianworks no longer has to share its profits or its vision with a larger corporate parent. They have total control over which clients they take on and how they grow their team. In the business world, this is the ultimate “graduation” moment. It transforms the company from a subsidiary into a standalone powerhouse.

This independence also allows the agency to be more agile. They can pivot to new trends faster than a massive conglomerate. In an era where digital trends change in a matter of days, being able to move quickly is a competitive advantage. For Houston-based entrepreneurs watching this from afar, the lesson is clear: vertical integration—owning every step of your business process—is the most reliable path to long-term wealth. When you own the agency, the media company, and the product, you are no longer at the mercy of middleman fees.

The strategic advisory arm that Easterling is building is the next logical step. Once you have figured out the formula for one star, you can replicate it for others. This turns the “Jordan model” into a repeatable system. It’s about creating a template for how modern talent should manage their careers. Instead of a traditional talent agent who just looks for the next gig, these advisors are looking for the next acquisition or the next company to build from the ground up.

Houston’s Growing Role in This New Economy

While Hollywood and New York have traditionally been the centers of this type of activity, Houston is rapidly becoming a hub for the “owner-creator” class. The city’s diverse population and strong economic base make it a perfect testing ground for new business models. Local athletes and artists are increasingly looking at their careers through the lens of a CEO. They are hiring specialized consultants, investing in local startups, and launching their own brands with an eye toward eventual independence.

The success of Obsidianworks provides a roadmap for how to bridge the gap between “being famous” and “being a mogul.” It isn’t enough to just have a lot of followers on social media. You have to have a service or a product that people are willing to pay for regardless of your personal involvement. If Michael B. Jordan stopped acting tomorrow, Obsidianworks would still be a valuable company. That is the definition of a scalable business platform.

We are seeing this play out in various industries across Texas. From tech founders to oil and gas executives, the focus is on building systems that outlast the individual. The “Obsidianworks way” is simply the entertainment industry catching up to what smart business people have known for years: the real money is in the ownership of the system, not the performance within it.

Building a Culture-Powered Engine

What does it mean to be a “culture-powered” agency? It means more than just knowing what music is popular or what slang people are using. It involves a deep understanding of the values and behaviors of different communities. Obsidianworks succeeds because it can speak to audiences in a way that feels authentic and respectful. When they worked on the Instagram Met Gala activation, they weren’t just posting photos; they were creating an experience that resonated with a digitally native generation.

In a city as culturally rich as Houston, this approach is the only one that works. People here can spot a “fake” brand from a mile away. Whether you are marketing to the Heights or Third Ward, you have to be genuine. Jordan and Easterling have proven that you can take that local, authentic feeling and scale it up to a global level without losing its soul. That is a rare skill in the advertising world, and it is exactly why major brands like Nike and Instagram are willing to pay a premium for their services.

The Spanx 25th anniversary project at Art Basel is another example of this. Art Basel is one of the most crowded and competitive environments for brand attention. To stand out there, you need more than just a billboard. You need a creative strategy that cuts through the noise. By leveraging their connection to culture, Obsidianworks was able to position a well-established brand like Spanx in a way that felt fresh and relevant to an artistic, high-fashion audience.

Breaking the “Face of the Brand” Cycle

The old model of celebrity endorsements was essentially a form of high-level labor. The celebrity would show up, do the work, and get paid. But labor is inherently limited by time. You can only be in so many places at once. Ownership, on the other hand, is limitless. A company can work for you while you sleep. This is the realization that is driving the current shift in the industry. By moving into the infrastructure side of things, Jordan has disconnected his earning potential from his physical presence.

For the average person in Houston, this might seem like a “rich person problem,” but the principle applies to everyone. It’s the difference between being an employee and being a business owner. It’s the difference between working for a commission and owning the company that pays the commission. Even on a smaller scale, shifting your focus toward building assets rather than just performing tasks is the key to financial freedom. Jordan is just doing it on a global stage.

The move toward equity-driven ventures is another part of this puzzle. Instead of taking a flat fee for a deal, more stars are demanding a piece of the company. If the brand grows, they grow. This aligns the interests of the talent and the brand in a way that a simple contract never could. It turns a temporary relationship into a long-term partnership. It’s a much more sustainable way to build a career in an industry that is notoriously fickle.

Strategic Advisories and the Evolution of Talent

The fact that Chad Easterling is now helping other talent evolve into scalable business platforms is a sign of things to come. We are likely to see a wave of “talent-led” companies hitting the market in the next few years. These won’t just be lifestyle brands; they will be logistics firms, tech startups, and marketing agencies. The goal is to turn a person’s public profile into a diversified portfolio of businesses.

This requires a specific set of skills that most actors or athletes don’t naturally possess. You need to understand balance sheets, cap tables, and operational management. That is where advisors come in. By bridging the gap between the creative world and the business world, advisors like Easterling are enabling a new type of mogul to emerge. They are providing the technical expertise that allows creative people to thrive as owners.

In Houston, we see this reflected in the way local entrepreneurs are seeking out mentorship and professional services. The city’s business ecosystem is built on these kinds of connections. Whether it’s a tech incubator in Midtown or a small business association in Sugar Land, the focus is on giving people the tools they need to scale their ideas into real companies. The Obsidianworks story is a high-profile version of exactly what is happening in the local economy every day.

Creating Long-Term Value in a Fast-Moving World

The most impressive part of what Michael B. Jordan has achieved is the longevity of the model. Acting is a profession where you are always looking for the next job. Even the biggest stars can find themselves out of favor with studios or audiences. But a creative agency that produces results for Instagram and Nike is a business that has institutional value. It can be sold, it can go public, or it can be passed down to the next generation. It is a legacy-building move.

This focus on long-term value is a refreshing change from the short-term thinking that often dominates the entertainment world. It shows a level of maturity and foresight that is often lacking in the “get rich quick” culture of social media. By putting in the work to build a real agency, Jordan has shown that he is thinking decades ahead, not just about the next opening weekend. This is a lesson in patience and persistence that resonates in any city, especially one as hardworking as Houston.

The shift from endorsement to ownership is not just a trend; it’s a necessary evolution for anyone whose career is based on public attention. As the media landscape becomes more fragmented, the value of a single endorsement deal is likely to decrease. However, the value of an agency that knows how to navigate that fragmented landscape will only increase. Obsidianworks is positioned perfectly for this new reality.

Refining the Blueprint for Future Success

If we look at the core components of the Obsidianworks success story, several things stand out as universally applicable for those looking to build something lasting. It starts with identifying a gap in the market. Jordan and Easterling saw that traditional agencies were struggling to connect with “culture” in a way that felt authentic. They filled that gap by bringing their own perspective and network to the table. This is business 101: find a problem and solve it.

The next step was building a professional team. You can’t run a top-tier creative agency on fame alone. You need designers, strategists, project managers, and accountants. By hiring the best in the business, Jordan ensured that the agency’s work would stand on its own merit. The fact that they have worked with Nike and Spanx proves that they are competing at the highest level based on the quality of their ideas, not just the name on the door.

• Focus on ownership rather than temporary fees to build lasting wealth.
• Build a team of experts to handle the operational side of the business.
• Look for gaps in the market where your unique perspective can add value.
• Prioritize independence to maintain control over your vision and profits.
• Think about scalability from day one to ensure the business can grow without you.

Finally, the move toward independence was the finishing touch. It secured the agency’s future and gave the founders total autonomy. This is the goal for any serious entrepreneur. For the people of Houston, a city that was built on the independence of the oil wildcatter and the space pioneer, this story feels very familiar. It’s about taking a risk, building something from nothing, and refusing to settle for a seat at someone else’s table when you can build your own.

The Real Impact on the Marketing Industry

The ripple effects of Obsidianworks’ success are already being felt in the marketing world. Traditional agencies are now having to work harder to prove their “cultural relevance.” They are seeing that talent-led agencies have a direct line to the audience that they simply can’t replicate with data alone. This is forcing a more human-centric approach to advertising, which is a win for consumers who are tired of being treated like numbers on a spreadsheet.

Furthermore, this model is empowering a more diverse group of creators to take control of their narratives. By owning the agency, Jordan can ensure that the campaigns they create are inclusive and representative of the real world. This isn’t just about “good PR”; it’s about better business. When a campaign reflects the actual audience, it performs better. This is a simple truth that Obsidianworks has turned into a thriving business model.

As we watch the continued growth of this agency and the launch of Easterling’s new advisory, it is clear that the rules of the game have changed. The line between “talent” and “executive” has blurred to the point of disappearing. In the future, we won’t just see celebrities in ads; we will see them in the quarterly earnings reports of the companies they built. The Obsidianworks story is just the beginning of a much larger shift toward a more equitable and ownership-focused economy.

This evolution is especially visible in Houston’s creative scene. Local photographers, designers, and marketers are seeing that they don’t have to wait for permission from a national agency to do great work. They can form their own collectives, build their own client bases, and eventually, their own agencies. The democratization of tools and the shift in mindset led by people like Michael B. Jordan is making it possible for anyone with a vision and a strong work ethic to own the infrastructure of their success.

The focus on building a “machine” that generates value is a powerful mental model. It encourages people to look at their work not as a series of tasks, but as the construction of an asset. Whether that asset is a creative agency, a software platform, or a local service business, the goal is the same: to create something that has value outside of your own labor. That is the essence of true entrepreneurship, and it is exactly what Obsidianworks represents.

As Houston continues to grow as a global city, the lessons from Obsidianworks will only become more relevant. The city’s ability to adapt to new economic realities is one of its greatest strengths. By embracing the “ownership over endorsement” mindset, Houston’s next generation of leaders can ensure that they are not just part of the culture, but that they own the systems that bring that culture to the world. Michael B. Jordan has shown us the door; it’s up to the rest of us to walk through it and start building.

Looking at the trajectory of Obsidianworks, it becomes clear that the focus on “culture-powered” strategies isn’t a fad. It is a response to a world where consumers are increasingly savvy and skeptical of traditional marketing. People want to support brands that understand them and reflect their reality. By centering their agency around this principle, Jordan and Easterling have tapped into a powerful and growing market force. This is not just about making ads; it’s about building bridges between brands and the people they serve.

The independence of the agency also serves as a case study in corporate bravery. It’s often easier to stay under the umbrella of a larger corporation, taking the steady paycheck and the administrative support. But true growth requires stepping out on your own. The buyout of 160over90 was a statement of intent. It told the world that Obsidianworks is ready to stand on its own two feet and compete with the giants of the industry. This level of confidence is infectious and is likely to inspire other boutique agencies to follow suit.

In the end, the story of Michael B. Jordan and Obsidianworks is about much more than Hollywood. It is about a fundamental shift in how we value influence, creativity, and ownership. It challenges the traditional hierarchies of the business world and offers a new path forward for those who are bold enough to take it. Whether you are in Los Angeles, New York, or right here in Houston, the message is the same: don’t just be the face—be the owner.

For decades, the path for a successful public figure was predictable. You would build a name in sports, film, or music, and then you would wait for a phone call from a massive corporation. That corporation would offer you a check to hold their product, smile for a billboard, and perhaps film a thirty-second television spot. This was the era of the “face of the brand.” It was lucrative, but it was essentially a high-end form of temp labor. When the contract ended, the celebrity walked away with a fee, but the company walked away with the customer data, the brand equity, and the long-term profit. Michael B. Jordan, through the evolution of his agency Obsidianworks, has effectively declared that era over. He is not just appearing in the commercials; he owns the agency that writes the scripts, books the media, and manages the strategy.

In Denver, where the startup scene has historically been dominated by tech and outdoor recreation, this shift toward full-stack ownership is becoming increasingly relevant. We are seeing a move away from simple partnerships and toward deep equity. The story of Obsidianworks going fully independent in 2025 after buying out its minority partner, 160over90, serves as a blueprint for anyone trying to build a business that survives beyond their personal daily involvement. It is about moving from being an asset that is used by a system to becoming the system itself. This distinction is subtle but represents a massive change in how wealth and influence are generated in the modern economy.

When we look at the Denver market, from the tech hubs in the Denver Tech Center to the creative boutiques in RiNo, the lesson remains the same. Reliance on a single stream of income or a single point of failure—like your own personal time—is the biggest hurdle to scaling. Jordan and his partner Chad Easterling recognized that the real power in Hollywood was not in front of the lens, but in the strategic decisions made in the boardroom months before a campaign ever launched. By building a culture-powered creative agency, they positioned themselves at the top of the food chain.

Breaking Down the Obsidianworks Independence Movement

The decision to buy out a partner like 160over90 was a calculated move toward total autonomy. In the world of creative agencies, independence is often the difference between chasing quarterly targets for a parent conglomerate and actually taking risks on “culture-powered” ideas. For Obsidianworks, this independence meant they could double down on high-stakes projects like Instagram’s Met Gala activations or Nike’s massive footprints during NBA All-Star Weekend. They were no longer just a “celebrity-led” wing of a larger firm; they became a standalone powerhouse capable of competing with the biggest names in Madison Avenue.

For a business owner in Colorado, this mirrors the transition from a service-based freelancer to a firm owner. A freelancer trades hours for dollars. A firm owner builds a process that works while they sleep. Michael B. Jordan isn’t sitting in every creative brainstorm for a Spanx anniversary event at Art Basel, but his infrastructure is. The agency represents a scalable platform that produces value regardless of whether Jordan is filming a movie in Europe or taking a break. This is the essence of building a “machine” rather than just a career.

The client list for Obsidianworks isn’t just a collection of big names; it’s a list of cultural gatekeepers. Working with Nike and Instagram requires a level of trust that goes beyond just having a famous co-founder. It requires a team that understands the nuances of modern consumer behavior. This is where many businesses fail. They focus on the product but ignore the cultural context in which that product exists. Obsidianworks succeeded because it didn’t just sell Nike shoes; it sold the feeling of the All-Star Weekend and the specific energy of the basketball community.

Transitioning from Fame to Foundational Business Logic

Chad Easterling’s latest venture focuses on helping other high-profile individuals make this same leap. It is a strategic advisory designed to turn “faces” into “platforms.” While most people reading this might not have millions of followers, the logic applies to the local Denver professional just as much. If you are a high-performing real estate agent, a top-tier consultant, or a successful restaurant owner, you are likely the “face” of your brand. If you stop working, the revenue stops. The goal of a platform is to decouple your personal presence from the generation of revenue.

This involves several moving parts that Obsidianworks has mastered. First, there is the media component. In the digital age, every company needs to function like a media company to some extent. You have to tell a story that people want to follow. Second, there are investment vehicles. This means taking the profits from your main business and putting them into assets that grow independently. Finally, there are equity-driven ventures, where you own a piece of the companies you help grow rather than just taking a flat fee for your services.

Imagine a local Denver fitness influencer. The old model was getting paid $500 to post a picture of a protein powder. The Obsidianworks model would be starting a creative agency that handles the marketing for five different protein companies, while also owning a 10% stake in a new gym franchise. One model is a job; the other is a legacy. Jordan has shown that even in an industry as volatile as entertainment, you can create stability by owning the means of production. This is a concept that dates back to the industrial revolution, but it has been modernized for the digital and cultural era.

The Denver Context: Why Local Strategy Matters

Denver is currently in a unique position. It’s no longer just a “cow town” or a quiet mountain city; it’s a global destination for talent and capital. As more people move to the Front Range, the competition for attention increases. Business owners here can no longer rely on just being “the local guy.” They need to adopt the same sophisticated infrastructure that Jordan is using in Los Angeles and New York. This doesn’t mean you need a multi-million dollar agency, but it does mean you need to think about your business as a system.

One way Denver entrepreneurs are doing this is by building localized ecosystems. Instead of just running a coffee shop, they are roasting their own beans, selling those beans to other shops, and perhaps even owning the building where the shop is located. This “vertical integration” is exactly what Jordan did. He realized that if he was going to be the one making the campaign successful, he might as well own the company that gets paid to create the campaign. It’s a way of capturing more of the value that you are already creating.

We see this in the Colorado tech scene as well. Founders are moving away from the “exit at all costs” mentality and toward building sustainable companies that own their niche. They are focusing on “culture-powered” growth—building communities around their software or hardware. This is the same secret sauce Obsidianworks uses. They don’t just broadcast messages; they engage with specific cultural moments that feel authentic to their audience. In a city like Denver, where authenticity is highly valued, this approach is far more effective than traditional, corporate-style advertising.

The Mechanics of Building a Value-Generating Machine

The phrase “machine that generates value” sounds like corporate jargon, but it’s actually a very practical way to look at business. A machine has inputs, a process, and outputs. In Michael B. Jordan’s case, the input is his cultural insight and network. The process is the team at Obsidianworks and their creative strategy. The output is a world-class marketing campaign for a brand like Spanx. The key is that the “process” part—the team and the strategy—is what creates the value, not just the “input.”

To build a similar machine in a local market like Denver, you have to start by identifying what part of your business is currently dependent on you. If you are a lawyer, is it your ability to litigate, or is it your firm’s reputation for winning? If it’s the latter, you have a machine. If it’s the former, you have a job. Moving toward the Obsidianworks model means documenting your processes, hiring people who are better than you at specific tasks, and focusing your time on the high-level strategy that only you can provide.

Jordan’s partnership with Chad Easterling is also a lesson in collaboration. No one builds a machine alone. Jordan provided the vision and the initial spark, but Easterling provided the operational expertise to make the agency run day-to-day. Many entrepreneurs struggle because they try to be both the visionary and the operator. Usually, you are only one or the other. Finding a partner who complements your skills is how you go from a small operation to an independent agency that buys out its partners.

• Identify the creative and strategic assets you already own but aren’t fully utilizing.
• Look for opportunities to move from a fee-for-service model to an equity-based model.
• Build a team that understands the cultural nuances of your specific target market.
• Focus on independence so you can make long-term decisions without outside pressure.

The Shift from Endorsement to Ownership

Endorsements are temporary. They are based on a moment in time where your “stock” is high. Ownership is permanent. It creates a foundation that can withstand the ups and downs of a career or an economy. When Jordan moved Obsidianworks to a fully independent status, he wasn’t just making a financial move; he was making a statement about control. He wanted to be the one deciding which brands to work with and how to tell those stories.

This shift is happening across all industries. We see it with professional athletes who are starting their own venture capital firms. We see it with YouTubers who are launching their own snack lines instead of just doing “sponsored by” segments. The common thread is the realization that the platform is more valuable than the person. In Denver, this might look like a local chef who launches a line of sauces sold in grocery stores across the state. The chef can’t be in ten kitchens at once, but their “machine”—the production and distribution of the sauce—can be in a thousand homes at once.

The beauty of this model is that it rewards expertise and creativity over just raw effort. It encourages people to think deeply about how they can add value to the world in a way that doesn’t exhaust them. Jordan is still an actor—he still stars in movies and stays busy on set—but he no longer has to worry about where his next check is coming from. He has built a diversified portfolio of businesses that support each other. The media company helps the agency, and the agency helps the investment vehicle. It’s a closed loop of value.

Real-World Application for Denver’s Growing Economy

Denver’s economy is currently transitioning from a regional hub to a national player. This means the stakes are higher, but so are the rewards. For someone operating a business in the Cherry Creek area or the suburbs of Aurora, the Obsidianworks story provides a high-level goal to aim for. It’s about professionalizing your passion. It’s about taking the things you are naturally good at and building a structure around them so they can grow.

One of the most impressive parts of the Obsidianworks story is the work they did with Spanx at Art Basel. This wasn’t just a party; it was a 25th-anniversary celebration of a brand that changed an entire industry. It required a deep understanding of fashion, art, and commerce. This is “culture-powered” marketing at its finest. In Denver, we have cultural moments all the time—the Great American Beer Festival, the Cherry Creek Arts Festival, or even the energy around the Denver Nuggets. Businesses that can tap into these moments with the same level of sophistication that Obsidianworks brings to Art Basel will be the ones that win.

Building this kind of agency or business requires a long-term view. It didn’t happen for Jordan overnight. It took years of building Obsidianworks alongside his acting career, choosing the right partners, and eventually having the capital and the confidence to go fully independent. Denver business owners should take heart in this. Success isn’t about the one big “break.” It’s about the gradual accumulation of assets and the steady improvement of your “machine.”

Ownership as a Form of Creative Freedom

Ultimately, why does Michael B. Jordan care about owning an advertising agency? He’s already wealthy and famous. The answer is creative freedom. When you own the infrastructure, you don’t have to ask for permission. You can tell the stories you want to tell. You can support the causes you care about. You can hire the people you believe in. For Jordan, Obsidianworks is a way to ensure that the “culture” being used in marketing is being handled by people who actually understand and respect it.

In the Denver business community, we often talk about “giving back” or “community involvement.” Ownership is the most powerful way to do that. When you own a successful, independent business, you have the resources to invest in your city. You have the power to create jobs and mentor the next generation of entrepreneurs. Jordan and Easterling are already doing this by helping other talent evolve into business platforms. They are creating a “multiplier effect” where their success helps others succeed.

The transition from “face” to “owner” is not just a financial strategy; it is a psychological one. it requires a shift in identity. You have to stop seeing yourself as the worker and start seeing yourself as the architect. This can be difficult for people who have found success through their own personal talents. But as the Obsidianworks story shows, the rewards are well worth the effort. You gain a level of autonomy that no endorsement deal could ever provide.

Establishing a Scalable Business Platform

The idea of a “scalable business platform” can seem a bit abstract, so let’s ground it in reality. A platform is something that allows other things to happen. In the case of Chad Easterling’s new strategic advisory, the platform is the set of tools, connections, and strategies that allow a celebrity to launch a media company or an investment fund. It’s the foundation. Without it, you’re just a person with an idea. With it, you’re a business with a future.

For a business in Colorado, building a platform might mean creating a proprietary technology that your competitors have to license. It might mean building a massive email list and a loyal community that allows you to launch new products with zero advertising spend. It might mean creating a training program that turns entry-level employees into world-class managers. Whatever it is, the goal is to create something that has a life of its own.

Jordan’s “brand machine” is a platform because it can take a brand like Instagram or Nike and give them a direct line to the “culture.” That is a service that will always be in demand. As long as brands need to stay relevant, they will need agencies like Obsidianworks. By building a platform that solves a permanent problem, Jordan has ensured that his business will remain relevant for decades, regardless of what happens in his acting career.

The Importance of Cultural Power in Marketing

We live in an age where traditional ads are being tuned out. People use ad-blockers, skip commercials, and ignore banners. The only thing that still gets through the noise is culture. When a brand does something that feels authentic to a specific community, people notice. Obsidianworks calls this being “culture-powered.” It means they don’t just look at data; they look at people. They look at what people are wearing, what they are listening to, and what they care about.

Denver is a city with a very specific culture. It’s a mix of rugged individualism, environmental consciousness, and a growing urban sophistication. A “culture-powered” agency in Denver would understand that a campaign for a mountain bike brand should feel different than a campaign for a new downtown high-rise. They would know the difference between “Red Rocks energy” and “LoDo energy.” This level of nuance is what separates the big agencies from the ones that are just going through the motions.

By owning the agency, Jordan ensures that his cultural insights aren’t filtered through five layers of corporate bureaucracy. He can go directly from an idea to a campaign. This speed and authenticity are what big brands are willing to pay for. They are tired of the old way of doing things, and they are looking for partners who can help them navigate the complex world of modern culture. Obsidianworks provides exactly that.

Modernizing the Strategy for Local Growth

If you are looking at your own business in Denver and wondering how to apply these lessons, start by looking at your “infrastructure.” Do you have a system for finding new customers, or are you just waiting for the phone to ring? Do you have a way to tell your story, or are you just a name in a directory? Do you own your “machine,” or are you just a part of someone else’s?

The biggest shift in the world of business is the move from “endorsement to ownership.” It’s the realization that being the star isn’t enough; you also want to be the one who owns the theater. Michael B. Jordan has shown us how it’s done at the highest level of Hollywood. But the same principles apply whether you are building a global creative agency or a local Denver service business. Focus on the system. Own the infrastructure. Build a machine that generates value long after you’ve finished your work for the day.

This path isn’t easy. It requires more risk, more capital, and a lot more work in the short term. But the long-term result is a level of security and freedom that you can’t get any other way. In a world where things are changing faster than ever, the only way to stay ahead is to be the one who owns the change. That is the true lesson of Obsidianworks.

The evolution of Michael B. Jordan from an actor to a business mogul is not just an inspiring story; it’s a warning to those who are still relying on the old models of business. The world is moving toward ownership. Those who realize it now will be the ones who lead the economy of tomorrow. Whether you are in Hollywood or here in Denver, the time to start building your own brand machine is now.

As Denver continues to grow and evolve, the opportunities for ownership will only increase. We have a vibrant community of creators, thinkers, and builders. By adopting a mindset of independence and infrastructure, we can ensure that our local economy is not just a collection of jobs, but a network of powerful, sustainable platforms. The goal is to create something that lasts—something that, like Obsidianworks, can stand on its own and continue to shape the culture for years to come.

This is the new standard. It’s no longer about who you know or how famous you are. It’s about what you build and what you own. Michael B. Jordan has set the bar high, but the blueprints are now available for anyone willing to do the work. The shift from endorsement to ownership is here, and it’s changing everything.

The skyline of Dallas has always been a symbol of corporate strength and entrepreneurial grit. From the oil booms of the past to the tech and logistics giants of today, this city understands the mechanics of building something from the ground up. However, a new kind of blueprint is emerging in the world of media and branding, one that mirrors the shift Michael B. Jordan has executed with his agency, Obsidianworks. It is no longer enough for high-profile individuals to simply lend their names to a product. The real power is moving toward those who control the creative process, the strategy, and the equity.

Michael B. Jordan represents a significant break from the traditional Hollywood path. For decades, the standard operation for a successful actor or athlete was to sign a contract, film a commercial, and collect a check. In that old system, the talent was a temporary employee of a brand. When Jordan co-founded Obsidianworks with Chad Easterling, he decided to stop being the face of other people’s ideas and started building the machinery that generates those ideas. By 2025, when the agency went fully independent, it proved that the “talent” could also be the “agency,” handling massive accounts for Instagram, Nike, and Spanx.

For the Dallas business community, this shift is incredibly relevant. North Texas has become a massive hub for sports franchises, media companies, and digital creators. The lesson from Obsidianworks isn’t just for movie stars; it is for anyone who has built a personal brand or a specialized skill set and is tired of trading their time for a flat fee. It’s about the transition from being a service provider to being an infrastructure owner.

Most people see a celebrity in a commercial and think of it as a win. In reality, that celebrity is often the person with the least amount of long-term upside in the deal. They get a one-time payment, while the brand uses their image to build billions of dollars in enterprise value. Chad Easterling, Jordan’s partner, has focused his new strategic advisory on fixing this imbalance. He looks at talent as a scalable business platform rather than a person for hire.

In Dallas, we see this playing out in the local sports scene. Players for the Cowboys or the Mavericks are increasingly looking at venture capital and real estate within the DFW metroplex. But the Obsidianworks model goes a step further. It isn’t just about investing money earned elsewhere; it is about owning the creative agency that services the industries they occupy. It’s about having a seat at the table during the strategic planning phase, not just showing up for the photo shoot at a studio in Deep Ellum.

This change requires a fundamental rethink of what “influence” actually is. In the past, influence was measured by how many people recognized your face. Today, influence is measured by how much of the supply chain you control. When Obsidianworks managed Instagram’s Met Gala activation, they weren’t just “influencers” attending a party. They were the architects of the experience itself. They owned the data, the strategy, and the creative execution.

Dallas is often categorized as a corporate city, but it has a deep, underlying current of cultural production. From the design districts to the rising tech corridors in Frisco and Plano, the city is full of people who create content and experiences. The Obsidianworks story serves as a case study in how to professionalize that creativity. Jordan and Easterling didn’t just start a “boutique” shop; they built a “culture-powered” machine that could compete with the largest ad agencies in the world.

To do this, they had to move away from the “celebrity vanity project” stigma. Many stars start companies that are essentially hobbies. Obsidianworks succeeded because it focused on high-level execution for global brands. When they took on Nike’s NBA All-Star Weekend projects, they had to deliver at a level that met the standards of a multi-billion dollar corporation. This required a team of professionals, a clear workflow, and a deep understanding of market trends.

For local entrepreneurs in North Texas, the takeaway is clear: your personal expertise is the hook, but the systems you build are the net. If you are a consultant, a creator, or a specialist in Dallas, you are likely still working within the “fame for fees” model. You get paid when you work. If you take a week off to go to the Byron Nelson or spend time at White Rock Lake, the income stops. Ownership of the infrastructure means the business generates value regardless of your physical presence.

One of the most telling moments in the agency’s history was the buyout of 160over90. By acquiring the minority stake held by their partner, Jordan and Easterling achieved total independence. This is a move toward “clean” ownership. In the business world, especially in a fast-growing market like Dallas-Fort Worth, partnerships are often necessary for initial scaling. However, the end goal for any serious builder is usually the ability to make decisions without outside interference.

Independence allowed Obsidianworks to pivot toward high-stakes creative ventures like Spanx’s 25th anniversary. Spanx is a brand built on the vision of Sara Blakely, another founder who understands the power of ownership. The collaboration between an ownership-driven agency and an ownership-driven brand creates a different kind of energy. It isn’t about satisfying a middleman; it’s about direct cultural impact.

This reflects a broader trend in the Texas economy. We are seeing a move away from traditional corporate hierarchies toward more agile, founder-led entities. Whether it’s in the tech startups of Austin or the creative agencies of Dallas, the desire for autonomy is driving the market. Jordan’s success provides a roadmap for how to navigate that transition without losing the “cool factor” that made the talent famous in the first place.

Chad Easterling’s move into strategic advisory marks the next logical step in this evolution. He isn’t just building agencies anymore; he is helping other people build their own versions of Obsidianworks. This involves creating media companies, investment vehicles, and equity-driven ventures. It is the professionalization of the “Personal Brand.”

In a city like Dallas, where networking is a sport, this kind of strategic advisory is becoming essential. There are countless high-net-worth individuals in the area who have reached the top of their fields but lack the “infrastructure” to turn their success into a legacy. They have the capital, but they don’t have the “machine.” Easterling’s approach is about building that machine.

These steps are practical, not just theoretical. They involve hiring the right COOs, finding the right legal counsel, and being willing to reinvest short-term earnings into long-term assets. It’s the difference between buying a luxury car in Highland Park and buying the dealership.

The term “creator economy” is often associated with young people on social media, but what Michael B. Jordan has done is apply those principles to the highest levels of global business. He has used his platform to bypass the traditional gatekeepers of the advertising world. This is a democratization of industry power. If an actor can run a world-class ad agency, then the traditional barriers between “creative” and “executive” are effectively gone.

Dallas is uniquely positioned to benefit from this shift. The city has a high density of both “creatives” and “executives.” Historically, these two groups lived in different worlds. The creatives were in the artsy neighborhoods, and the executives were in the boardrooms of Downtown or the Legacy West area. The Obsidianworks model merges these worlds. It suggests that the best executives are those who understand the culture, and the best creatives are those who understand the P&L statement.

When we look at the work done for the Nike x NBA All-Star Weekend, we see the fusion of these elements. It required the cultural authenticity of someone like Jordan, but the operational excellence of a top-tier firm. This is the new standard. Brands no longer want just a face; they want a partner who can help them navigate the complexities of modern culture.

The concept of a “scalable business platform” is the holy grail of modern entrepreneurship. A one-off deal is a dead end. You do the work, you get paid, and it’s over. A platform, however, grows over time. It accumulates data, relationships, and intellectual property. Obsidianworks is a platform. Every project they complete for a client like Instagram adds to their institutional knowledge and their market value.

For a business owner in Dallas, the question is: “Am I building a platform or just doing jobs?” If your business relies entirely on your personal touch for every single task, you haven’t built a platform yet. You’ve built a high-paying job. Scaling requires the creation of systems that can function at a high level without the founder’s constant intervention. This is exactly what Jordan and Easterling achieved by the time they reached 2025.

They built a team that understood the “Obsidianworks way.” They created a brand identity for the agency that was separate from Jordan’s movie roles. This allowed the agency to stand on its own merits. When a brand hires them, they aren’t just hiring Michael B. Jordan; they are hiring a specific creative philosophy and an execution engine.

One of the most important aspects of this new model is the move toward equity. Instead of taking a $1 million fee to promote a product, savvy talent is now asking for a percentage of the company. This aligns the interests of the brand and the individual. If the company succeeds, the individual sees a massive return that far exceeds any standard endorsement fee.

This is a very “Texas” way of doing business. The state’s history is filled with stories of people taking risks on “wildcatting” or land deals in exchange for a piece of the upside. Now, that same spirit is being applied to the digital and creative realms. Whether it’s a tech startup in the Silicon Prairie or a new beverage brand being launched out of Dallas, the conversation is shifting toward long-term ownership.

Jordan’s agency acts as the bridge for these kinds of deals. They can help talent identify which brands are worth an equity stake and then provide the creative muscle to make sure those brands succeed. It is a virtuous cycle. The talent provides the reach, the agency provides the strategy, and the equity provides the wealth.

The success of Obsidianworks is a signal to professionals in every industry that the old boundaries are blurring. You don’t have to stay in your lane. An actor can be a CEO. A creative can be a strategist. An athlete can be a venture capitalist. The key is to own the “infrastructure” of your talent.

In the North Texas area, we see this in the rise of multi-hyphenate entrepreneurs. People are running real estate empires while also producing podcasts and investing in local restaurants. They are building their own ecosystems. The lesson from Michael B. Jordan is that these ecosystems should be professionalized and scaled. They shouldn’t just be a collection of side hustles; they should be a cohesive business machine.

Building such a machine takes time. It took years for Obsidianworks to reach the point where it could go fully independent. It required a partnership built on trust and a shared vision. It also required a willingness to turn down the easy money of traditional endorsements in favor of the harder, more rewarding work of building a company.

The future of business in cities like Dallas will be defined by those who can bridge the gap between culture and commerce. The traditional corporate model is often too slow and disconnected from what people actually care about. The influencer model is often too shallow and lacks operational depth. The middle ground—the “culture-powered creative agency”—is where the real growth is happening.

Michael B. Jordan and Chad Easterling have provided a masterclass in how to occupy that middle ground. They have shown that you can be at the center of the cultural conversation while also maintaining the discipline of a world-class business. They have proven that ownership is the only way to ensure that the value you create stays with you.

As Dallas continues to grow as a global center for business and media, the Obsidianworks story will serve as a constant reminder that the biggest shift is moving from being a participant in someone else’s system to being the owner of your own. The camera will eventually stop rolling, and the lights will eventually dim, but the machine you build will keep generating value.

Adopting this mindset doesn’t require being a Hollywood superstar. It requires a shift in how you value your own work. It starts with asking different questions during negotiations. Instead of asking “What is the fee?”, the question becomes “What is the long-term value of this partnership?” It involves looking at your business as a series of repeatable processes rather than a series of one-time events.

In the competitive environment of North Texas, this mindset is a significant advantage. While everyone else is fighting for the next contract or the next promotion, the person building an “infrastructure” is playing a different game. They are building an asset that can be sold, scaled, or passed down. They are building a legacy.

This isn’t about greed; it’s about sustainability. The “fame for fees” model is inherently unstable. It relies on being the “flavor of the month.” The ownership model is about stability and long-term impact. It’s about ensuring that your creative energy is invested in something you actually own.

One of the most interesting parts of the new model is how media companies are becoming investment vehicles. When you own the media company, you control the attention. When you control the attention, you can direct it toward the companies you have invested in. This creates a powerful synergy that traditional advertising can’t match.

We see glimpses of this in Dallas with local media personalities who launch their own brands or partner with local businesses. But there is still so much room for growth. By applying the Obsidianworks framework—building a full-scale agency rather than just a personal brand—local leaders can create much more significant economic impact.

The move toward “independent” status for the agency in 2025 was the final piece of the puzzle. It signaled to the world that they didn’t need the backing of a larger conglomerate to succeed. They had the talent, the clients, and the systems to stand alone. For any business owner in Dallas, that kind of independence is the ultimate goal. It represents the freedom to choose your own path and define your own success.

The most compelling part of this story is the idea of value that lasts “long after the camera stops rolling.” In a world obsessed with the “now,” there is something powerful about building for the “later.” Michael B. Jordan is at the height of his acting career, but he is already thinking about what happens when he wants to step behind the scenes permanently.

This forward-thinking approach is what separates the winners from the also-rans in any industry. In Dallas, where the economy is constantly evolving, the ability to build a system that can adapt is crucial. Obsidianworks isn’t just an agency for 2025; it is a model for how talent will interact with brands for the next several decades.

By focusing on ownership, infrastructure, and scalable platforms, Jordan and Easterling have rewritten the rules of the game. They have shown that the most valuable thing you can own is not your fame, but the system that manages it. For the professionals and creators of North Texas, the message is clear: stop being the product and start being the producer. Build the machine, own the system, and create value that persists.

For decades, the standard path for high-profile individuals in entertainment and sports followed a predictable script. You build a massive following, you land a lead role or a starting position, and then you sign a contract to hold a beverage or wear a specific brand of sneakers. It was a simple trade of fame for a flat fee. However, the recent moves by Michael B. Jordan and his creative agency, Obsidianworks, suggest that this old model is becoming obsolete. Instead of just appearing in the commercial, Jordan decided to own the agency that writes the script, hires the crew, and executes the strategy.

This transition toward infrastructure ownership represents a massive change in how value is created. Obsidianworks, co-founded with Chad Easterling, recently made headlines by going fully independent. By buying out their minority partner, 160over90, they shifted from a collaborative startup to a powerhouse that controls its own destiny. They aren’t just a “celebrity project.” They are a legitimate creative force handling major activations for Instagram at the Met Gala and managing Nike’s presence during NBA All-Star Weekend. This isn’t about vanity; it is about building a scalable business that operates regardless of whether Jordan is physically on a film set.

In Charlotte, North Carolina, this shift resonates deeply. As a city that serves as a massive banking hub and a growing center for tech and sports, the concept of “owning the system” is familiar to the local corporate culture, but it is taking on a new meaning in the creative and entrepreneurial sectors. The lesson from Obsidianworks is clear: the real wealth isn’t in the paycheck you receive for a job; it is in the equity of the company that provides the service.

Breaking Down the Obsidianworks Model

Obsidianworks identifies itself as a culture-powered agency. This means they don’t just look at data points or traditional marketing metrics. They look at the pulse of what people are actually talking about, the music they are listening to, and the movements they care about. By positioning themselves as the bridge between massive corporate entities like Nike or Spanx and the actual cultural zeitgeist, they provide a service that traditional, stuffy advertising firms often struggle to replicate.

The agency’s independence in 2025 marks a turning point. Independence in the agency world means you no longer have to answer to a parent holding company. You keep more of the profits, you have total creative control, and you can take bigger risks. For Jordan, this move secures his financial future far beyond his acting career. While a movie salary is a one-time payment, an agency with a recurring client list like Instagram and Nike is an asset that grows in value over time. It is a machine that generates revenue while the owner is sleeping.

Chad Easterling has taken this a step further by launching a strategic advisory. The goal here is to take other athletes and artists and move them into the same lane. Instead of looking for the next million-dollar endorsement deal, they are looking for equity stakes, media company foundations, and investment vehicles. They are helping talent evolve into platforms. This is a fundamental change in the power dynamic between talent and brands.

The Charlotte Connection: A City Built on Systems

Charlotte is a city that understands the power of infrastructure. As the second-largest banking center in the United States, the local economy is built on the very systems that facilitate global trade and personal finance. However, for a long time, the creative energy in Charlotte was overshadowed by the glass towers of Uptown. That is changing. The rise of companies like Obsidianworks provides a blueprint for Charlotte’s own growing class of entrepreneurs and creators who want to build something lasting.

When we look at the Charlotte business landscape, we see a heavy emphasis on professional services. But what happens when the people providing those services start to own the platforms? We are seeing this in the local real estate market, the burgeoning fintech scene, and even in the way local sports figures are investing back into the community. The “Jordan Model” suggests that the next generation of Charlotte leaders won’t just be high-earning professionals; they will be owners of the agencies, the tech platforms, and the media outlets that define the city’s narrative.

The city’s history with professional sports, particularly through the presence of the Charlotte Hornets and the various NASCAR teams based in the region, makes it a fertile ground for this conversation. Athletes in Charlotte have long been staples of local car dealership commercials. But the Obsidianworks approach asks a different question: why just film a commercial for the dealership when you can own the marketing firm that handles the entire automotive group’s digital presence?

The Economics of Cultural Influence

Culture is often treated as something intangible, but Obsidianworks treats it as a hard asset. In a place like Charlotte, where the population is rapidly diversifying and young professionals are flocking to neighborhoods like South End and NoDa, understanding cultural shifts is a competitive advantage. Traditional marketing often feels out of touch because it relies on outdated stereotypes. Obsidianworks succeeds because it is led by people who are actually part of the culture they are selling.

This creates a new type of job market. It isn’t just about being a “creative.” It is about being a cultural strategist. In Charlotte, this could lead to a rise in boutique agencies that specialize in connecting the city’s deep financial resources with its vibrant artistic and social communities. The gap between the “suit and tie” world of Uptown and the “creative” world of the outskirts is narrowing. The common language between them is now ownership and equity.

Consider the work Obsidianworks did for Spanx’s 25th anniversary at Art Basel. They took a well-known brand and placed it in a high-art, high-culture environment in a way that felt authentic rather than forced. This requires a level of nuance that traditional agencies often lack. For Charlotte businesses looking to expand their reach, the lesson is to stop trying to “buy” cool and start building the internal systems that naturally attract it.

Beyond the Endorsement: Real World Applications

If you are an entrepreneur in Charlotte, you might wonder how a Hollywood superstar’s agency affects your daily operations. The core principle is the move from “fee-for-service” to “asset-based income.” Many local businesses operate on a model where they only make money when they are actively working. If the consultant stops consulting, the money stops. If the lawyer stops billing hours, the revenue drops.

The Obsidianworks model encourages a shift toward building systems. This might mean a local marketing expert developing a proprietary software tool that other businesses pay to use. It could mean a successful restaurant owner starting a distribution company that supplies ingredients to other eateries. It is about identifying the “infrastructure” of your industry and finding a way to own a piece of it. This creates a buffer against market volatility and personal burnout.

In the context of the 2025-2026 economic climate, where traditional job security is less certain, ownership is the only real hedge. Michael B. Jordan isn’t just acting because he needs the paycheck; he is acting because it enhances the value of his other assets. His presence in a movie makes Obsidianworks more attractive to clients. His agency’s success makes him a more powerful figure in the boardroom. It is a self-reinforcing cycle of value.

• Equity over fees: Prioritizing long-term ownership in projects rather than one-time payments for labor.
• Infrastructure control: Owning the agencies, production houses, or distribution networks that bring a product to market.
• Cultural relevance: Using deep community ties to provide insights that big data cannot capture.
• Scalability: Creating businesses that can function and grow independently of the founder’s daily physical presence.

By focusing on these areas, professionals in any field can begin to move away from the “employee” mindset and toward the “architect” mindset. This isn’t just for celebrities. A specialized contractor in Charlotte can build a training platform for new hires across the state. A local boutique owner can launch a wholesale line. The scale might be different, but the logic remains the same: own the machine.

The Role of Strategic Advisory in Growth

The mention of Chad Easterling launching a strategic advisory is a critical piece of this story. It highlights that most people, even those with immense talent, don’t know how to make this transition on their own. They need a roadmap to move from being a “worker” (even a very famous one) to being a “business platform.” This is a growing industry in itself. In Charlotte, we see a similar trend with the rise of business incubators and specialized consulting firms that help small businesses scale into regional powerhouses.

Strategic advisory isn’t just about giving advice; it’s about restructuring how a person or brand interacts with the market. It involves looking at intellectual property, licensing, and long-term partnerships. For a Charlotte-based creator, this might involve moving from a “freelance” status to a “corporate” status, setting up the legal and financial frameworks necessary to hold equity in other ventures. It is a sophisticated way of looking at a career as a portfolio of assets rather than a series of jobs.

This advisory model also emphasizes the importance of partnerships. Obsidianworks didn’t start in a vacuum; it was a collaborative effort between a creative visionary and a business strategist. This suggests that the future of business in Charlotte isn’t about the “solopreneur” but about the power of the right partnership. Finding someone who complements your skills—the “business” to your “creative”—is often the missing link in turning a passion into a platform.

Redefining Success in the Modern Market

Success is no longer just about the height of your salary; it is about the depth of your roots in an industry. Michael B. Jordan’s move to buy out 160over90 and take Obsidianworks independent is a statement of power. It says that he no longer needs the backing of a larger corporate umbrella to be taken seriously by brands like Nike and Instagram. He has built enough internal value to stand alone.

In Charlotte, this translates to a call for more independent local ownership. While the city benefits greatly from being a headquarters for major corporations, the long-term health of the local economy depends on the growth of independent, locally-owned firms that can compete on a national stage. When a Charlotte-based agency wins a contract to handle a major global event, the profits stay in the city, the jobs are created here, and the “intellectual equity” remains in the community.

This shift also changes the narrative around “selling out.” In the past, a creative person working with a big brand was often seen as compromising their art. Today, thanks to the Obsidianworks example, it is seen as an opportunity to take over the boardroom. If you own the agency, you don’t have to compromise your vision; you get to dictate the terms of the collaboration. This empowerment is a vital part of the new professional landscape.

Building for the Long Term

One of the most impressive aspects of the Obsidianworks story is the focus on longevity. Jordan is still at the peak of his acting career, yet he is already building the infrastructure for the next thirty years. This foresight is often lacking in fast-paced business environments. Many people focus on the quarterly earnings or the next big contract without considering what happens when their current “hot streak” ends.

Charlotte is a city that thrives on planning. From the massive developments in the University City area to the expansion of the light rail, the city is always looking twenty years ahead. Business owners here should take the same approach. If your business depends entirely on your personal energy or a single client, you are in a vulnerable position. Building a “machine” like Obsidianworks means creating something that has its own momentum.

The beauty of this model is that it is accessible. You don’t need a Hollywood budget to start thinking like an owner. You just need to change how you value your time and your expertise. Start by identifying the parts of your work that are repetitive and can be turned into a system. Look for ways to gain a “piece of the action” in the projects you work on. Over time, these small shifts in strategy can lead to the kind of independence and scale that we see in Jordan’s agency.

The Evolution of Brand Partnerships

The way brands interact with influencers and celebrities is changing because the audience is smarter than they used to be. People can tell when an endorsement is just a paycheck. They respond much better when there is a genuine connection between the person and the product. Obsidianworks leans into this by creating “culture-powered” campaigns. They ensure that when Instagram shows up at the Met Gala, it feels like they belong there, not like they are just a sponsor who paid for a logo on a wall.

For businesses in Charlotte, this means authenticity is a requirement, not a buzzword. Whether you are a local bank trying to reach Gen Z or a new tech startup trying to build trust with older residents, your marketing has to feel grounded in reality. This is why owning the creative process is so important. When you outsource your voice to a massive, distant agency, your message often gets diluted. By keeping the creative “infrastructure” close to home, you maintain your authentic voice.

We are seeing more “equity-driven ventures” where the person promoting the product is also an owner of the company. This aligns everyone’s interests. If the company does well, the “face” of the brand does well financially for years to come. This is a much healthier relationship than the old model of “pay me for this post and I’ll see you later.” It encourages long-term thinking and higher quality work because everyone has skin in the game.

The Power of Independent Creative Agencies

The independence of Obsidianworks in 2025 is a testament to the fact that smaller, specialized agencies are often more effective than massive, bureaucratic ones. In a city like Charlotte, this is great news. It means that a local team of ten highly skilled people can potentially beat out a massive firm from New York or Chicago if they have a better pulse on the culture and a more efficient system of operation.

Independence allows for agility. When the market shifts—as it often does in the 2020s—an independent agency can pivot its strategy in an afternoon. A massive holding company might take six months to approve a new direction. This speed is a massive advantage for brands that need to react to social trends in real-time. Charlotte’s business community, known for its efficiency, is perfectly positioned to adopt this agile, independent mindset.

Furthermore, independent agencies tend to foster more intense loyalty among their staff. When people feel like they are part of a mission rather than just a cog in a corporate wheel, the work improves. Jordan and Easterling have built a culture within their agency that reflects the culture they are selling. This internal alignment is something every business owner in Charlotte should strive for.

Observations on the Future of Talent and Business

As we look forward, the line between “talent” and “executive” will continue to blur. We will see more athletes, actors, and musicians opening their own venture capital firms, production companies, and marketing agencies. This isn’t a trend; it’s a structural shift in how the economy works. Information and influence are the new commodities, and those who know how to package and distribute them will be the ones who hold the power.

In Charlotte, this could manifest as a more integrated business ecosystem. Imagine a future where local leaders in different industries—finance, tech, and the arts—regularly form equity-based partnerships to launch new ventures. The city already has the financial backbone; now it is gaining the creative infrastructure to match. The example set by Obsidianworks provides the template for how to bridge those two worlds successfully.

Ultimately, the story of Michael B. Jordan and Obsidianworks is about self-reliance. It is about realizing that your biggest asset isn’t your skill, but the system you build around that skill. Whether you are in Hollywood or Charlotte, the goal is the same: move from being a participant in the market to being a creator of the market. The rewards for doing so are not just financial, but include the freedom to shape the culture on your own terms.

Practical Steps Toward Ownership

Transitioning toward an ownership model doesn’t happen overnight. It starts with a change in how you negotiate. Instead of asking “How much will you pay me?”, the question becomes “How can we structure this so I have a stake in the outcome?”. This might mean taking a lower upfront fee in exchange for a percentage of sales, or it might mean asking for a seat at the table when strategic decisions are being made.

It also requires a commitment to learning the “boring” side of business. Michael B. Jordan didn’t just walk into a boardroom and become a CEO; he partnered with someone like Chad Easterling who understood the mechanics of the industry. For those in Charlotte looking to level up, this means spending time understanding contracts, profit margins, and corporate structure. The more you understand how the money flows, the better you can position yourself to capture more of it.

Finally, it involves building a brand that stands for something beyond yourself. Obsidianworks isn’t called “Michael B. Jordan’s Marketing Firm.” It has its own identity, its own mission, and its own reputation. This is what makes it a scalable asset. If the agency was just about his fame, it would be limited. Because it is about “culture-powered” results, it can grow into areas that have nothing to do with his acting. Building a brand that can live without you is the ultimate sign of a successful system.

The shift from endorsement to ownership is the defining business movement of our time. By looking at the success of Obsidianworks, we can see a clear path forward for anyone who wants to build something lasting. In Charlotte, a city that is constantly reinventing itself, this message is particularly timely. The tools for building these “machines” are more accessible than ever. The only question is who will have the vision to start building them.

The landscape of professional life in North Carolina is changing. The days of simply following a corporate ladder are being replaced by a more dynamic, ownership-focused approach. Whether you are starting a small agency in NoDa or managing a large team in a South Park office tower, the principles of infrastructure and equity apply. By focusing on building systems rather than just completing tasks, you position yourself to thrive in an economy that rewards those who own the means of production.

This evolution is not just about individuals; it is about the collective growth of the city. As more people move from “employee” to “owner,” the economic base of Charlotte becomes more diverse and resilient. The influence of companies like Obsidianworks acts as a catalyst, proving that cultural insight is just as valuable as financial capital. As we look at the skyline of Charlotte, we should see not just banks and apartments, but the potential for a thousand different “machines” that will drive the city into the future.

The Changing Nature of Creative Control

For decades, the path for a successful public figure was largely transactional. An athlete, actor, or musician would spend years honing their craft, achieve a certain level of fame, and then rent that fame out to the highest bidder. They became the face of a perfume, a sneaker, or a watch brand. They got paid a flat fee, filmed a commercial, and walked away. This was the endorsement model, and while it created plenty of millionaires, it rarely created lasting business infrastructure. Michael B. Jordan has decided to play a different game entirely. By co-founding Obsidianworks alongside Chad Easterling, he moved from being the person in the ad to being the person who owns the company that makes the ad.

Obsidianworks represents a shift in power that is currently rippling through the business world. In 2025, the agency took a massive step forward by going fully independent, buying out its minority partner, 160over90. This wasn’t just a corporate maneuver; it was a statement about who should hold the keys to cultural influence. When you look at their client list, you see heavy hitters like Nike, Instagram, and Spanx. These aren’t just small social media posts. They are massive, high-level activations like the Met Gala or NBA All-Star Weekend. By owning the agency, Jordan and Easterling are capturing the value of the creative process itself, not just the final image of a famous face.

This development is particularly interesting when viewed through the lens of a city like Boston. While we often think of Boston as a hub for biotech, education, and finance, there is a massive and growing creative economy here that is hungry for new models of success. The traditional way of doing things in New England often leans toward the conservative and established. However, the Jordan model suggests that the next generation of Boston’s leaders—whether they are tech founders in the Seaport or artists in Roxbury—should be looking toward ownership as their primary goal. The “face of the brand” is a temporary position. The “owner of the machine” is a permanent one.

The Impact on Local Boston Talent and Infrastructure

Boston has always been a city of innovators, but the creative class has often felt secondary to the scientific and academic giants. The rise of companies like Obsidianworks provides a roadmap for how local creatives can build scalable platforms. Imagine a scenario where a local Boston athlete doesn’t just sign a deal with a sportswear company but instead uses their influence to launch a strategic advisory or a media production house right here in Massachusetts. This keeps the intellectual property and the high-paying jobs within the local economy rather than exporting them to Los Angeles or New York.

The cultural footprint of Boston is unique. We have a mix of deep historical roots and a cutting-edge, youthful energy driven by our massive student population. When a brand like Nike wants to activate at an event, they are looking for that specific blend of authenticity and prestige. In the past, a national agency would fly in, do their work, and leave. If more local talent adopted the Jordan mindset, we would see the emergence of Boston-based agencies that own these cultural moments. This creates a sustainable ecosystem where the money generated by cultural influence stays within the community to fund the next wave of projects.

Consider the recent milestones of Obsidianworks. They handled Spanx’s 25th anniversary at Art Basel. That requires an incredible amount of logistical planning, creative vision, and business strategy. It isn’t something you can do just because you are famous; you need a team of experts. By building this team, Jordan has created a machine that functions even when he is on a film set. This is the definition of a scalable business. For an entrepreneur in Boston, the lesson is clear: your personal brand is the fuel, but the business structure is the engine. You need both to get anywhere meaningful in the long run.

Breaking the Cycle of Fee-for-Service Work

Many people in the creative industries find themselves stuck in a “fee-for-service” cycle. You do a job, you get paid, and then you have to find the next job. There is no residual value in the work you did yesterday. The shift toward ownership changes the math. When you own the agency, you are building an asset that has value independent of your daily labor. This is how real wealth is created. It’s the difference between being a carpenter and being the person who owns the construction company. Both are valuable, but one allows for much greater financial freedom and influence.

In the Seaport District, we see tech startups following this model every day. They build a piece of software once and sell it a million times. The creative world is finally catching up to this software-style scaling. By creating “culture-powered” strategies, Obsidianworks is essentially creating a repeatable system for brand success. They can take the lessons learned from an Instagram activation and apply them to a completely different industry. This intellectual property is what makes the agency valuable to investors and partners. It’s not just about who Michael B. Jordan knows; it’s about what the agency knows how to do.

This is a major departure from the old “celebrity creative director” titles that were popular a few years ago. Often, those titles were purely for show, with the celebrity having very little actual input or equity. The new model is much more rigorous. It requires a deep understanding of market trends, consumer behavior, and corporate finance. Chad Easterling’s move to launch a strategic advisory is the logical next step. He is now teaching others how to make this transition, turning “stars” into “CEOs.” This is a professionalization of fame that we haven’t seen on this scale before.

Why Ownership Matters More Than Ever in 2026

The economy of 2026 is driven by attention. However, attention is more fragmented than it has ever been. In the past, you could reach everyone by buying a few TV spots during a big game. Today, you have to find your audience across dozens of platforms, through influencers, events, and digital experiences. Because the landscape is so complex, the value of someone who truly understands “culture” has skyrocketed. Brands are tired of generic advertising that nobody watches. They want to be part of the conversation, but they don’t always know how to join it without looking out of touch.

This is where the ownership model provides a massive advantage. Because Michael B. Jordan and his team are active participants in the culture, they don’t have to guess what people like. They are the ones defining it. When they bring a brand into that space, it feels natural. This isn’t something a traditional ad agency can easily replicate, no matter how many focus groups they run. For a Boston-based business, this means that partnering with talent-led agencies can lead to much more effective marketing. It’s about quality of engagement rather than just raw numbers of impressions.

• Strategic advisors are now helping talent move into equity-driven ventures where they own a percentage of the companies they promote.
• Media companies are being built to control the distribution of content, removing the need for traditional gatekeepers.
• Investment vehicles allow talent to put their money into the same brands they are helping to build, creating a double win.

This holistic approach means that if a brand succeeds, everyone involved shares in the long-term rewards. It aligns the interests of the talent, the agency, and the brand. In a city with Boston’s financial expertise, this kind of alignment should be music to the ears of investors. We are seeing a new asset class emerge: culturally-backed equity. It’s a way to invest in the power of influence with the same discipline you would apply to a real estate deal or a stock portfolio.

Redefining the Professional Creative Career Path

For a young person graduating from one of Boston’s many prestigious universities, the career path in marketing or media used to be very narrow. You started at a large firm, worked your way up the ladder, and hoped to become a partner in twenty years. The Obsidianworks model blows that wide open. It suggests that if you have a deep understanding of a specific community or culture, you can build your own agency and compete with the giants almost immediately. The barriers to entry are lower, but the requirements for authenticity are much higher.

This doesn’t mean that traditional skills like copywriting, design, or strategy are no longer important. On the contrary, they are more important than ever. But they need to be applied within a different framework. Instead of asking “How can we sell this product?”, the question becomes “How can we make this brand a meaningful part of people’s lives?”. It’s a subtle shift, but it changes everything about the creative process. It moves the work from being an interruption to being a contribution.

In Boston, we have a unique opportunity to lead this movement. We have the intellectual capital, the financial resources, and a culture that values hard work and substance. By embracing the idea of creative ownership, we can ensure that our city remains a vital player in the global media landscape. We don’t just want to be a place where ads are watched; we want to be the place where the systems behind those ads are built and owned. This is how we protect our local economy from the fluctuations of the global market.

The Role of Independent Agencies in Modern Commerce

Independence is a key theme in the Obsidianworks story. By buying out their partner, they gained the freedom to move at the speed of culture. Large, conglomerate-owned agencies often struggle with bureaucracy. They have too many layers of approval, which can kill a great idea before it ever sees the light of day. An independent agency can take risks. They can say “no” to a big paycheck if the brand doesn’t align with their values. This integrity is what builds long-term trust with an audience.

For brands like Nike or Spanx, working with an independent, talent-led agency is a way to bypass the corporate fluff. They get a direct line to the people who are actually shaping the market. This efficiency is highly valued in today’s fast-paced business environment. If you can deliver a high-quality campaign in half the time it takes a traditional firm, you are going to win every time. This is a lesson that every Boston entrepreneur should take to heart: being lean and independent is often a competitive advantage, not a disadvantage.

The advisory services that Easterling is now providing are designed to help more people achieve this level of independence. It’s about building a foundation that can support a variety of different business interests. One day it might be a sneaker launch, the next it might be an investment in a clean-energy startup. The “platform” is what makes it all possible. It’s the central hub that coordinates all the different spokes of a modern professional career. Without that hub, you are just a collection of disconnected projects.

Building a Lasting Business Legacy in New England

When we look at the history of Boston business, the companies that have lasted the longest are the ones that owned their infrastructure. From the textile mills of the 19th century to the tech giants of today, ownership has always been the key to longevity. The creative world is no different. If you want to have an impact that lasts for decades, you have to own the means of production. You have to be the one who decides how things are made and who gets to make them.

Michael B. Jordan’s success with Obsidianworks is a powerful example of what is possible when you combine talent with a strategic mindset. He didn’t just wait for the phone to ring with the next job offer. He went out and built a company that ensures he will always have a seat at the table. This is a model that can be replicated by anyone with a skill and a vision. It doesn’t matter if you are in Hollywood or Boston; the principles of ownership and scalability are universal.

The city of Boston is perfectly positioned to support this kind of growth. We have the mentors, the capital, and the talent. What we need is a collective shift in how we view the value of our work. We need to stop seeing ourselves as “vendors” and start seeing ourselves as “partners.” We need to demand equity in the value we create. And most importantly, we need to build our own agencies, media companies, and investment firms so that we are never dependent on someone else’s permission to succeed.

Practical Steps for Transitioning to an Ownership Model

Moving from a fee-based career to an ownership-based one doesn’t happen overnight. It requires a clear plan and a willingness to reinvest in yourself. The first step is to identify the unique value you bring to the table. What is the “culture” or “community” that you understand better than anyone else? Once you have that, you can start to build a team around you. You don’t have to do everything yourself. In fact, the most successful owners are the ones who know how to delegate and find the right partners, just as Jordan found Easterling.

Next, you have to look for opportunities to take equity instead of just cash. This might mean taking a smaller fee in exchange for a piece of the company you are helping. It’s a risk, but it’s the only way to get a seat at the ownership table. You also need to think about how you can turn your services into a product. Can you create a repeatable process that other people can follow? Can you build a platform that connects brands with your audience? These are the questions that lead to a scalable business.

Finally, you have to stay independent as long as possible. Don’t be in a rush to sell out to a larger firm. The value of your agency or media company comes from your unique perspective and your connection to the culture. If you sell too early, you lose that. By staying independent, Obsidianworks was able to grow on its own terms and eventually buy back full control. That is the ultimate goal. It gives you the power to define your own future and create a legacy that will last long after your personal fame has faded.

The Future of the Brand Machine in a Decentralized World

As we move further into the decade, the traditional “brand machine” will continue to evolve. We are seeing the rise of decentralized platforms and new ways for creators to interact directly with their fans. This will only make the ownership model more important. In a world where anyone can start a channel or a brand, the winners will be the ones who own the underlying infrastructure and the data that goes with it. Michael B. Jordan has given us a glimpse of what that looks like at the highest levels of business.

For the Boston creative community, the message is one of empowerment. You have the ability to build something significant right here. You don’t need to move to a different city to find success. By focusing on ownership, equity, and strategic growth, you can build a business that has a global impact. The “brand machine” isn’t a mysterious force that lives in a skyscraper in New York. It’s a system that you can build yourself, piece by piece, starting today.

The shift from endorsement to ownership is the biggest story in the business of fame, but it’s also a story about the future of work for everyone. It’s about recognizing your own value and having the courage to build a system that reflects it. Michael B. Jordan has shown us the way. Now, it’s up to the rest of us to follow that path and build our own versions of Obsidianworks in our own communities. The rewards—both financial and creative—are well worth the effort.

Think about the brands that define our daily lives. From the coffee we drink in Southie to the sneakers we wear on the T, every one of those brands is the result of a creative strategy. If those strategies were owned and operated by the people who actually live in those communities, imagine how much more vibrant and equitable our local economy would be. This is the promise of the ownership model. It’s not just about making a few people rich; it’s about creating a better, more connected, and more sustainable way of doing business for everyone.

The journey from being the “face” to being the “owner” is the ultimate evolution of a professional career. It represents a move toward maturity, responsibility, and true influence. It’s a path that requires hard work, a lot of learning, and a bit of a gamble. But as we have seen with Obsidianworks, it’s the only path that leads to real independence. In a world that is constantly changing, the only thing you can truly count on is what you own. This is a lesson that Michael B. Jordan has learned, and it’s one that we should all take to heart as we build our own futures in the city of Boston.

We are standing at a crossroads in the history of creative business. One path leads back to the old ways of doing things, where we are all just temporary workers in someone else’s empire. The other path leads forward to a world where we own our work, our data, and our cultural influence. The choice is clear. By choosing ownership, we are choosing a future where creativity is valued, respected, and rewarded. This is the new era of the brand machine, and it’s time for us to take our place at the controls.

The work of Obsidianworks shows that this isn’t just a dream for the distant future. It’s happening right now. Major brands are already moving their budgets away from traditional firms and toward these new, talent-led agencies. This shift will only accelerate as more people realize the benefits of the ownership model. For the entrepreneurs and creators of Boston, this is your signal. The world is looking for what you have to offer. Don’t just sell it. Build a company around it. Own the system. Change the game.