This past March, Shigeichi Negishi passed away at 100. While you might not know his name, you’ve certainly enjoyed the musical world he helped create. Negishi has long been credited as the inventor of Karaoke—pulling together consumer electronics, post-work drinking culture, and a love of pop tunes into an era-defining mix. A deeper dive, however, makes the story more complex (and honestly more interesting). Negishi was actually just one of a handful of simultaneous inventors. Far from a distinct commercial product, Karaoke might be better understood as the necessary, albeit somewhat-off-key, shadow of the modern music business. To celebrate this legacy, Saxon and Sam dig into one of the most fascinating elements of our contemporary musical…practice? Industry? Culture? Karaoke has a way of blurring all those the lines. And so, in addition to the history, we explore the big questions: What does it mean to imagine yourself a star? Why do we want to perform Katy Perry songs in front of friends and strangers? How has Karaoke’s meaning in American culture changed over time? Where does all this fit into the history of folk music—and what does it mean for our social-media future? A first pass, and definitely not a final say. Just hoolllddd onttooo that feeeellinnnnn....   Subscribe to our Newsletter

Dear Listener, Have you found yourself coming down with more consistent cases of nostalgia lately? Do you consider yourself a millennial? Well, if so, you might be soon buying a pricey concert ticket to one of the hottest trends in live music: The 20 year Anniversary Album Tour. Yes, your favorite album of 2004 (or perhaps 2014) can soon be heard live, in its entirety, front to back at a concert venue near you. But why is this becoming such a trend? Is it the pre-packaged social media ready presentation? Or that Millennials got deeper pockets now and will shell out big bucks on tickets (and a babysitter) to hear their favorite album played live? Or is it just Hollywood risk-aversion bleeding into the touring industry? As a jumping-off point, Saxon and Sam discuss an excellent recent article on Passion of the Weiss wondering on this very subject and then suss out whether Earl Sweatshirt really is touring ...too...much?    Read: We Outside: Congrats, Your Favorite Album is Old Enough to Go on Tour by Pravash Trewn   Subscribe to our Newsletter!

This week, we take a roundabout tour of the platform power that drives our musical landscape. First up is Neil Young, whose one-man stand against Spotify for its support of Joe Rogan just ended in….well…total defeat. We explore why Ol' Neil was unable to escape the musical monopsony that defines our streaming age (with a few detours into the terrors of lo-fidelity audio and the dream that was Pono). Then, we look at what Universal Music has been up to, more specifically, by examining a set of recently announced partnerships with Spotify (they have videos now?) and K-Pop powerhouse Hybe (everyone, quick, into the WeVerse!) If platforms were already inescapable, what does it mean when the major labels start doubling down on them? Come for the secret, dollar-drenched sound of Scooter Braun and Taylor Swift burying the hatchet. Stay for how we LOST THE UNIVERSE. Subscribe to our newsletter! Music: Chromatics - Fade to Black

Much of the time, it feels like almost nothing could shake up the streaming status-quo. This isn’t one of those times. Over the past week, Congressperson Rashida Tlaib (with support from the Union of Musicians and Allied Workers) released the Living Wage for Musicians Act—a fascinating piece of legislation that (if passed) would completely transform the contemporary music industry. Like…really REALLY change things, in ways both obvious and subtle. While it’s hard to see an immediate path towards it being signed into law, the act demonstrates a genuine hunger for large-scale structural change—and helps to lay out an imaginative framework for what that could look like. We dig into the details, but also explore what this newfound sense of possibilities might mean for the future—a question that also connects to current, racially-coded attempts to ban music-biz-hotbed Tik Tok. Connecting such seemingly disparate events, we wonder what this emergent energy means, and where it could go next. Come for the 12-Million Stream Cap—stay for the beautiful dream of major label transparency.   Subscribe to our newsletter! Music: La Sécurité - "K9 Freaks Mix (Freak Heat Waves Remix)"

Is rock dead? Not according to Imagine Dragons. You know the band with 10 different billion-streamed songs? The one that’s sold 46 million records? You’ve definitely heard of them, but....have you ever really HEARD them? Probably not. And that’s because despite being the most successful band of the past 25 years, Imagine Dragons has received next to no critical attention. Not even a proper 0.6 take-down, let alone a serious examination.  And that’s honestly a mistake. Because the group has a tremendous amount to tell us—about our changing musical tastes, about the psychic landscape of modern America, and about the trajectory of rock in a post-genre future. Come for Sam listening to the entirety of the ID catalog for the sake of science. Stay for a new perspective on the merits—and singular focus—of an act that’s defined an era of angst.   Subscribe to our newsletter! Follow us on Twitter!

This past week, negotiations broke down between Universal Music—the biggest and most powerful of the three major labels—and Tik Tok, the world’s most viral social media platform. The result: Universal’s music has been pulled—almost entirely—from the mimetic app. It’s a show of raw muscle the likes of which we haven’t seen for years, and the implications are fascinating. But how did it come to this? Why are two of the biggest forces in the music business in a battle that neither should have wanted? To better understand the story, we dig into the payout structures that define the conflict, the inter-sectoral strategies that shaped it, and the negotiations that led to everything falling apart. Once again, it’s a fight about the future of sound—and which type of business is going to own it. Come for everyone talking about AI without anyone talking about AI. Stay for a KILLER data-science research project.   Subscribe to our newsletter! Follow us on Twitter!

Like the rest of the increasingly small world of music criticism, we were shaken by the news that Pitchfork had not only been more-or-less gutted by publisher Conde Nast, but pulled into GQ. Gentleman’s Quarterly. Of all possible things. G-freaking-Q...? We’re not gonna lie—this one feels grim. But, what kind of grim? Events split the team, with Saxon spinning out a narrative of corporate confusion and brand-based failure, while Sam tried to pull some (desperate) fragments of sense from the seemingly nonsensical plan. Is music criticism lifestyle reporting? Is there an economic base for the record review? Will a thousand newsletter flowers bloom? This week we have questions, not answers. And definitely no good vibes. Insert your own "Wintour is the cruelest season" joke here.   Subscribe to our newsletter! Follow us on Twitter!

New year, same old music business. To get things kicked off right, we circle back to check in on two of our favorite industry players, and things….well, we hate to tell you, but things aren’t GREAT, you know? Regarding Hipgnosis, the once high-flying music fund is very much in hot water—conflicts of interest flying, shareholders revolting, and board-members unceremoniously shown the door. Who could have possibly seen this coming? Certainly not us… And then Spotify, where the times—or at least the streaming payout structure—are a-changin’. On the surface, new rules regarding monetization (under 1000 plays? No cash for you!) might seem relatively minor, but they reflect a more fundamental set of shifts within the power-structures of the industry. Everyone is gearing up for a fight about the next 25 years of music—moves like this are the first steps towards a new world order. And if recent events are any indication, Spotify doesn’t seem like it’ll be the one calling the shots… Music: Black Lips - "Bone Marrow" Subscribe to our newsletter! Follow us on Twitter!

When we heard that BMI, an organization designed to collect money on behalf of songwriters, had decided (on its own?) to drop its non-profit status and go for the cash, our response was confusion. Like—can they even do that? What does that even MEAN? But then BMI sold themselves to a private equity fund. Backed by Google. And now...we’re concerned.   To get a better sense of what’s going on, we dig into the history of BMI—exploring how it emerged from battles between publishers, Hollywood, and the rising forces of radio, and what role it has played in the  industry ever since. A fair and neutral arbiter, with no interests of its own...but of course. Then we try to understand what impact the privatization might have on the future of music. Bundling other people’s copyrights? Maybe. A foot in the door for AI legislation? Probably. Come for an argument about why songwriters should borrow tactics from the mob. Stay for tomorrow’s IP battles today.    Re-Listen: "Consent Decrees" Episode    Subscribe to our newsletter!   Follow us on Twitter!

This time Sam and David Turner dig into the financially rocky patch in which Patreon—the name that launched a thousand podcasts—has recently found itself. Looking at the longer trajectory of the fan-funding platform, they try to piece together how it moved from a replacement for YouTube ads to a supposed panacea for the value collapse of musical (and cultural) production—and try to understand the broader implications of the division it (implicitly) draws between the filthy-lucre of commerce and the pure connection of community. Come for Sam not knowing the basics of indy-streamer cultology. Stay for the fundamental question of whether fandom is a zero-sum game.    Subscribe to our newsletter!   Follow us on Twitter!   Subscribe to Penny Fractions!

Over the summer, New York’s premier EDM festival Electric Zoo descended deep into the Fyre Fest zone—that magical place combining blatant rip-off and profoundly unsafe conditions. Purchased by by owners of Brooklyn mega-club Avant Gardner the previous year, the latest edition of the three-day rave took the Bold and Forward Thinking step of mixing abrupt cancellations and incredibly poor crowd control with rampant overselling, producing a potentially deadly crowd-crush and an NYPD investigation. Fascinated and horrified, we decided to dig a bit deeper to figure out…who ARE these guys? And what in the name of Frankie Knuckles is their deal? As we dug into the often insane specifics (Superfund Halloween Rave, Best Friends With Mayoral Staffers, Etc.), we realized that the question shed light on a deeper issue: as dance music and nightlife become big business, how do are events and venues balancing the desire for profits and the demand for safety? And could the finance money pouring into the space change things for the worse? Read:  Clubbing is Becoming Big Business. What Does This Mean for Dance Music?  - Resident Advisor    Subscribe to our newsletter!   Follow us on Twitter!   Subscribe to Penny Fractions!

Hi folks! As part of our collaboration with Penny Fractions, we are bringing you the first episode of a new format—David, Saxon, and Sam, thinking through our moment in an off-the-cuff convo about current events. We hope you like it!  The music industry was recently shaken by news around beloved marketplace/web-magazine Bandcamp, where half of the staff was recently let go (or, as press release from definitely-not-shady new owners Songtradr put it "After a comprehensive evaluation...50% of Bandcamp employees have accepted offers to join Songtradr”). It’s…not great. Unfortunately, it’s also not entirely unexpected. To try to get our heads around what’s happening, we talk union-busting, the decline of music criticism, the death of tech optimism, the rise of the influencer economy, the zombie-like survival of grifting, and what the future might hold for a synch-happy tech-bro Bandcamp. Somedays, it feels like it's their world, and we just live in it. Today might be one of those days.  Subscribe to our newsletter! Follow us on Twitter! Subscribe to Penny Fractions!

First off—big news in Money 4 Nothing-land. We’ve just OFFICIALLY joined forces with the amazing Penny Fractions newsletter to create a new and almighty Voltron (Sailors Moon?) of critical coverage on the music industry. We’ll be rolling out exciting new projects over the next few months, so please stay tuned! And now, on with the show…    When news broke that a wave of Scott “Scooter" Braun’s clients were leaving him—including mega-names like Ariana Grande and Justin Bieber—it seemed like it might be the beginning of the end for the most successful music manager of the 2010s. But…who is Scooter exactly? And why should anyone care?   While most know Braun for his era-defining beef with Taylor Swift, we decided to go a bit deeper, exploring his remarkable ascent amid the shell-shocked chaos of the music biz during the early Obama Era. As we dug in, we realized that Scooter’s success actually provided a fascinating vantage-point through which to understand the distinctive era that ran from early Youtube to the launch of Tik Tok—a moment of disruption, change, and platform power that we might just be coming out of. Come for the Asher Roth (yeah, THAT Asher Roth). Stay for the T-Swift conspiracies.    Subscribe to our newsletter! Follow us on Twitter! Subscribe to Penny Fractions!

If you listen to essentially any piece of contemporary music, you’re likely—more than likely—to hear the influence of Bob Moog. Moog invented the first modular synthesizer, a device for creating electronic sound simultaneously more powerful and more accessible than anything that had come before. Initially adopted by the avant-garde, Moogs were quickly scooped up by the elite of rock and pop, laying a heavy sonic signature on the 1970s—and pretty much much everything that has come since. Think...Floyd. Think Stevie.    To learn more, we talked to Albert Glinsky, the author of “Switched On: Bob Moog and the Synthesizer Revolution,” the definitive biography of the man behind the tones. And the story? It’s wild. Featured topics include: home-grown Theremins, electronics stolen from Con-Ed, Japanese industrial conglomerates, hippy rip-off albums about the zodiac, open-faced breadboards, John Cage & Co, and the determinative power of the keyboard. How an inveterate tinkerer, ensconced in upstate New York, remade the world.      Subscribe to our newsletter! Follow us on Twitter! Music - Panic Girl - "Washed Ashore"

Machine Learning. It’s in the news, and increasingly, it's in our tunes. Somehow. Maybe? Given the ravenous hype cycles of tech, it can be extremely difficult to separate the real, the potentially real, the squint-and-maybe-you-can-see it, and “the SEC wants to speak to you now” of it all. To try and get a better sense of how AI is factoring into the present-day music industry as it actually, you know, exists, we talked with Cherie Hu of Water and Music. We discuss production tools, major label plots, social media possibilities, and push-button production, and tried to figure out the ways these technologies could be revolutionary—or more of the same. To put it another way? Come for the change—stay for the continuity.  subscribe to our newsletter!   Follow us on Twitter!   Music - Man Rei - "I Don't Want Money"

On Nov 5th, 2021, the first night of Travis Scott’s Astroworld festival collapsed into horror—a terrible crowd crush at the Houston event killed 10, and reportedly injured thousands. In the wake of the catastrophe, fingers were pointed at Scott, at Live Nation, at the Police, at Rap music, at “the kids.” And then? Silence. We didn’t really know what happened, and no details emerged for a long, long time. Until now. Coinciding (suspiciously, perhaps) with the release of Scott’s new album “Utopia,” a grand jury decided that no one was criminally liable for the deaths—and the Houston PD released their entire investigative report. How did this happen? Who was at fault? And what would stop it from happening again? To try and answer these questions, Sam and Saxon dug deep into the documentation, trying to understand the fatal breakdown. And the answers…well...they aren’t reassuring. Far from a riot or a panic, Astroworld seems like it mostly went according to plan. The problem was that the plan was fundamentally flawed—dependent on inexperienced workers, unfamiliar collaborators, and shaped by a fear of the crowd it was supposed to protect. Ultimately, Astroworld seems increasingly like a microcosm of the rotten, financialized state of American life. And while a slight sliver of hope might exist in antitrust activity, it doesn’t seem like things are going to get better anytime soon. The opposite of Utopia.   subscribe to our newsletter! Follow us on Twitter!

This week, the crew digs into two timely stories providing some new perspective on this crazy little thing called music. First, they dig into the rising influence of so-called “super fans”: folks who consume content from their favorite artists along 5 or more distinct channels. According to recent research they are not just a thing—they’re increasingly driving the industry. What does this rampant physical consumption tell us about the digital world? Does it follow the endless trend for infinitely increasing commodification? Or does its very irrationality suggest…an off ramp? THEN, a discussion of one of the biggest labor stories in a year full of them: the Hollywood strikes! Saxon and Sam dissect some of the macroeconomic forces behind demands from writers and actors, and try to puzzle out why this all went down now. More topically, they also wonder whether anything like this could ever happen for music—and think through what a lack of labor representation means for the industry shaping conversations of the future.   Music: Lona Mesa - "Spaceman"    "Time to Break Up Hollywood"  - Matt Stoller   subscribe to our newsletter! Follow us on Twitter!

"Ambient Music" has seen a renewed interest for reasons that we can only speculate. 2016 election? Increased atomization of individuals? The multi-headed hell-scape of pandemic + climate change + economic woes? Sure. Whatever the reason, the past decade as seen a revival of soundscapes and synths that is both helping us escape from the toils of our everyday and also, more darkly, making us more functional subjects in the service of Capital. Starting from the conceptual ideas of John Cage and Eno's late modernist visions illustrated by 'Music for Airports,' Sam and Saxon attempt to trace a history of contemporary Ambient with a look towards alternative possibilities and potentials that go beyond chill-out rooms and curated mood playlists. Also discussed: the merits of 17th century Harp Music, homemade iPhone field recordings, and the liberating benefits of being inefficient.   Music: Emily Sprague - "Water Memory" Subscribe to our newsletter! Follow us on Twitter!

Early this year, K-pop was the site of some truly Succession level drama, as Hybe (the company that launched BTS) attempted to steal SM Entertainment (a longtime mainstay of the industry) out from under Kakao (a Facebook + Spotify level media conglomerate). The story had it all: legendary businessman refusing to go quietly, alleged stock market manipulation, patricidal nephews, alleged corruption, Wall Street know-it-alls in WAY over their head, and at least one climactic stock-offering battle.    Now that the smoke has cleared, what did all the fuss tell us about Kpop? To learn more, we called Kara, host of the Idolcast, and our resident expert in all things K & J Pop. With her help, we explore the roots of this story, from Korea’s Bobby Brown being arrested on stage to the SM production machine that launched generations of dazzling stars. Ultimately, we tease out a picture of an industry in transition, as a world-conquering cultural model begins to look for the next thing—as its current structure starts to show its age. Come for the incredible saga of Lee Soo-man, our new favorite media mogul. Stay for the commoditized communities coming soon to a fandom near you.   Music: James K - "Ultra Facial"    subscribe to our newsletter! Follow us on Twitter!

It used to be so simple. There were the major labels (all 6 of them, or whatever) and there were the independents or "the indies." Over the 80’s and 90s, a position initially adopted out of economic necessity grew into a distinctive cultural mode, with a host of aesthetic and political dimensions. Now things have changed and being "indie" no longer means the same. To understand this shift, we take a look at the Merlin Network, powerful grouping of independent labels that banded together to grab a seat (or at least, a half-a seat) at the streaming table. Now responsible for roughly 15 percent of the modern music economy, Merlin has been a tremendous success, allowing independent labels like XL, Domino, Beggers Group and others spanning the globe to continue to thrive in an increasingly hyper-concentrated, almost entirely digital industry. But at what cost? We think through what independence can even mean within platform capitalism—and how the lessons of the past can be repurposed (if at all) to our multi-media future.  Subscribe to our newsletter! Follow us on Twitter!