Liz Pelly continues her deep interrogations of everything Spotify and this time drilling into how the music streaming is shifting certain strains of pop music to a milquetoast center.
The first of two Cherie Hu articles to close the week. This one looks at the business of Tencent Music just before the company IPO’d in the United States, which I found rather interesting in seeing just how much this company takes from purchases and how little money ever makes it into artist bank accounts.
I wrote a brief history of the American Federations of Musicians, the world largest musicians union, and how it offers a new way to understand contemporary anxiety around automation and job lost.
When Cherie said she was working on this story I got so excited because examining the music critic’s role in the era of streaming is certainly one I think about probably too much. Though I’ll say my opinion I think differs a bit from my peers in that I find it rather hallow to blame subpar music on music streaming pressures. One can’t selectively choose when capitalism is a bad or good force toward the creation of art, or actually one can I just don’t with such logic.
If you’re one of the 132 people in the world that ever used Apple Music’s Connect feature please tell me how you feel about it going away. The stripping away of social functions fits in line with what I don’t like about the direction of contemporary music streaming but in this example I can’t say I’m too upset.
Marc Mulligan offers a quick preview of what to expect of 2018 business numbers of the industry. I mostly took away to expect to see more growth, but that it is starting to peak in certain markets and international markets will soon need to pick up that slack.
This being my last article of 2018 and again there is so much happening on platforms like Twitch that feels like the future of so much media that I can’t ever stop looking at it and wondering what the future may hold.