Last summer, something monumental happened. One of Uncuffed's founding producers, Greg Eskridge, came home after more than 30 years in prison. In this episode we’ll bring you back to that emotional day last summer when he walked out of the San Quentin gates, free at last. Our work in prisons is supported by the California Arts Council, the California Department of Corrections and Rehabilitation, independent foundations, and donations from listeners like you. Learn more, sign up for Uncuffed news, and support the program at www.weareuncuffed.org Follow us @WeAreUncuffed on Instagram and Facebook Transcripts are available within a week of the episode coming out at www.kalw.org/podcast/uncuffed…
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Вміст надано Money 4 Nothing. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією Money 4 Nothing або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
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TikTok VS….Music? (W/ Kristin Robinson)
Manage episode 454168047 series 2810758
Вміст надано Money 4 Nothing. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією Money 4 Nothing або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
This past January, Universal Music went to war. Or at least, it tried to. Shocking both listeners AND artists, the major label announced that it was cutting ties with TikTok, the short-form giant, over payout rates and copyright infringement. Its artists (and publishing)—completely pulled from the platform. T-Swift viral dances? Tragically silenced.
The breakup lasted until May, when (in a profoundly opaque statement), the two corporations suddenly announced they had come to terms. The fight was a massive gamble for both sides—a test to see, when push came to shove, who really had the leverage in one of social media’s most important relationships. But…what actually happened? And what, if anything, was the fallout? To learn more, we talked to Kristin Robinson, a senior writer at Billboard, and the author of the excellent "Machine Learnings" newsletter. Fractured solidarity between artists and labels? The impenetrable veil of music biz secrecy? Slowed and reverbed copyright infringement? The crushing power of monopoly exerted, step by step, against indy labels? All that and more.
101 епізодів
ПоширитиManage episode 454168047 series 2810758
Вміст надано Money 4 Nothing. Весь вміст подкастів, включаючи епізоди, графіку та описи подкастів, завантажується та надається безпосередньо компанією Money 4 Nothing або його партнером по платформі подкастів. Якщо ви вважаєте, що хтось використовує ваш захищений авторським правом твір без вашого дозволу, ви можете виконати процедуру, описану тут https://uk.player.fm/legal.
This past January, Universal Music went to war. Or at least, it tried to. Shocking both listeners AND artists, the major label announced that it was cutting ties with TikTok, the short-form giant, over payout rates and copyright infringement. Its artists (and publishing)—completely pulled from the platform. T-Swift viral dances? Tragically silenced.
The breakup lasted until May, when (in a profoundly opaque statement), the two corporations suddenly announced they had come to terms. The fight was a massive gamble for both sides—a test to see, when push came to shove, who really had the leverage in one of social media’s most important relationships. But…what actually happened? And what, if anything, was the fallout? To learn more, we talked to Kristin Robinson, a senior writer at Billboard, and the author of the excellent "Machine Learnings" newsletter. Fractured solidarity between artists and labels? The impenetrable veil of music biz secrecy? Slowed and reverbed copyright infringement? The crushing power of monopoly exerted, step by step, against indy labels? All that and more.
101 епізодів
Усі епізоди
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Money 4 Nothing
1 Spotify Culture (Featuring Liz Pelly + David Turner) 1:28:55
1:28:55 
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Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяThis week? Heavy Hitters. As you may (or may not) have heard, journalist/Daniel Ek tormenter/friend-of-the-pod Liz Pelly is making waves with her wonderful new book “Mood Machine: The Rise of Spotify and the Costs of the Perfect Playlist.” It’s easily the best thing yet written about the company at the center of modern music, insightfully reconstructing how Spotify’s shifting interests and policies have remade how we listen, who we listen to, and what they get paid. To get a deeper perspective on both the book and the histories it emerges from, we also called up David Turner—of the late (lamented) Penny Fractions—pulling him out of retirement for one last big music + capitalism score. Together Liz, David, and Sam dive into everything from the economics of ghost artists and the aesthetics of vibes-based listening to the intentional destruction of cultural context in the streaming age. It’s a conversation that helps clarify the singularity of Spotify culture—and allows us to better detach its operations from the meaning of digital music. Come for the playlists. Stay for what they’ve done to you. Buy Liz Pelly's book "Mood Machine" Subscribe to our Newsletter !…
Look. Times are dark. So this week, we decided to tackle a somewhat lighter topic and look into Drake’s remarkably tone-deaf lawsuit against Universal Music Group—the label to which both he and (beef opponent) Kendrick Lamar are signed. In essence, Drake alleges that UMG used all their influence to make Kendrick’s Grammy-winning diss track “Not Like Us” a viral mega-hit. Which, like…yeah. Of course they did. They are in the business of producing viral mega-hits. While the context of the lawsuit—namely, multiple violent attacks on Drake’s house—is quite serious, it’s hard not to find the whole thing ridiculous. After over a decade of industry machinations, Aubrey really had the nerve to sue UMG for…hurting his feelings? [Yes, it’s actually for defamation of character, but in the court of public opinion, those two are pretty much synonymous] Despite this, the actual content of the legal filing is fascinating —offering readers a guided tour of exactly what UMG is doing out there, hosted by someone who really knows how the sausage gets made. Payola? Selective copyright enforcement? Contract negotiation hardball? You betcha. THEN: Saxon and Sam get a little loose and take a jog through the Grammys. Album Of The Year? Sure. But also…who did you have for Immersive Audio? Subscribe to our Newsletter !…
The second Trump administration will impact pretty much everything, but we decided to take some time and focus on the specific conjecture of industry + culture + technology that is AI. After all, when Biden came to office, LLMs were just really starting to get going—while the last 12 months have seen a mind-bending set of developments, both in terms of corporate activity and technical possibility. Given the rate of both change and adoption, the next 4 years will almost certainly be crucial, potentially locking us into a long-term pathway with both these machines AND the companies that make them. So…what might happen? And how will it impact music, given the massive copyright lawsuits currently working their way through the courts? Saxon and Sam put on their tinfoil hats, got out their crystal ball, and…did their best. The resulting conversation moves from big (contradictory impulses between protectionism and libertarianism within the Trump coalition?) to bigger issues (War? Stock market crash?) to the generally intangible (shifting relationships between Americans and the ideologies of cultural authority?) Come for a connect-the-dots conversation that links Elon Musk and AGI to the possibility of earning a living by making art. Stay because at least we’re all doomed together. Subscribe to our Newsletter ! For more background, check our our episode on AI + Copyright Lawsuits in Music.…
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Money 4 Nothing
1 Financializing Everything (W/ Andrew deWaard) 1:09:31
1:09:31 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:09:31
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяAs you might have noticed, we spend a...fair bit of time talking about the three labels at the heart of modern music—and tracking what their unprecedented centralization has done to the industry. And while that’s important, it’s only part of a far larger trend, one that cuts across pretty much all of the culture industries. Crucially, this is a process, not just of mergers or consolidation, but of financialization— a profit-driven effort to increase global capital’s hold over the workers who create culture. But…how did this happen? When did it happen? And how has it impacted not just the firms that produce music and films—but the actual music and films themselves? To help us through this complex history, we’re joined by Andrew deWaard, author of “Derivative Media: How Wall Street Devours Culture,” taking us through a wide-ranging conversation about derivatives, the geopolitical implications of "financial discipline," mergers, acquisitions, board-member kickbacks, 30 Rock, play-listing Drake, modern cultural analysis, and more. Come for the doomerism you know and love. Stay for a better understanding of how our corporate overlords get it done. If you want to read Andrew's book--it's free and open source here ! Also some sick charts to accompany the discussion. Subscribe to our Newsletter ! Music: Crumb - Ghostride…
This past January, Universal Music went to war. Or at least, it tried to. Shocking both listeners AND artists, the major label announced that it was cutting ties with TikTok, the short-form giant, over payout rates and copyright infringement. Its artists (and publishing)—completely pulled from the platform. T-Swift viral dances? Tragically silenced. The breakup lasted until May, when (in a profoundly opaque statement), the two corporations suddenly announced they had come to terms. The fight was a massive gamble for both sides—a test to see, when push came to shove, who really had the leverage in one of social media’s most important relationships. But…what actually happened? And what, if anything, was the fallout? To learn more, we talked to Kristin Robinson, a senior writer at Billboard, and the author of the excellent "Machine Learnings" newsletter. Fractured solidarity between artists and labels? The impenetrable veil of music biz secrecy? Slowed and reverbed copyright infringement? The crushing power of monopoly exerted, step by step, against indy labels? All that and more. Subscribe to our Newsletter ! Music: Kyozo Nishioka - "Gypsy Song"…
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Money 4 Nothing
1 Roan Rising: The zoomer soft coup and the future of mass culture 1:08:56
1:08:56 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:08:56
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяAfter an eternity of millennial performers with a chokehold on the charts, we’ve finally seen the emergence of a new cohort of gen-z icons. Chappelle Roan and Sabrina Carpenter (building on the foundation laid by Billie + Olivia) are suddenly everywhere—headlining festivals, topping the charts, defining the zeitgeist. You might call it a moment of generational turnover…except for the fact that precisely zero cultural lines are being drawn. Instead, the newest wave of big-tent pop is, quite intentionally, for everyone—teens, college kids, aging millennials, gen x-ers still watching SNL, etc. To celebrate the return of the mainstream (and to suss out the role played by the major labels who had…started to miss it), we put on our media theory hats and start investigating. How do careers function now that new music doesn’t need to be new? Has digitally based fragmentation started to produce its opposite? Is the culture industry—with all of its coercive power—back? Come for the socio-technical implications of the Chappelle timeline. Stay for what it says about the nature of post-post-modernity. Subscribe to our Newsletter !…
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Money 4 Nothing
1 Streaming Music, Streaming Capital (W/ Eric Drott) 1:17:05
1:17:05 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:17:05
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяHow did streaming change music? Not like how did it change the music industry (we talk about that plenty, obviously). And not how did it change bitrate. But how did streaming change the nature of the music that you listen to? How and why and does it matter that you now pay a limited rate for an unlimited amount of music? Within capitalism, how does it matter that "streaming" functions under a fundamentally different system of copyright and finance and technology than…say buying? And how does that all service data collection, listening habits, personalized feeds and everything else? These questions are at the heart of Eric Drott’s wonderful new book “Streaming Music, Streaming Capital,” which starts to grapple with the fundamental questions of what streaming is exactly—and what it’s done to us. Subscribe to our Newsletter ! Buy Eric Drott's Book "Streaming Music, Streaming Capital"…
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Money 4 Nothing
1 NÜ METAL FOREVER (w/ Holiday Kirk) 1:27:09
1:27:09 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:27:09
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяNÜ metal sucks. Right? It’s what critics have screamed ever since the taste-defying mashup of funk-metal, rap, industrial, and post-hardcore stormed onto the charts in the mid ‘90s. When bands like Slipknot, Linkin Park, System of a Down, Korn, or Limp Bizkit dominated the charts, the take was muted by raw success. But the second the acts slipped…the entire movement was (more or less) decried as tasteless trash—the worst of rockism, utterly beyond the pale. Why though? Could the last truly successful (from a chart perspective) rock movement REALLY have no redeeming qualities? And if it did…why hasn’t anyone been thinking about them? Well—one hero has. It’s Holiday Kirk, the “CEO of NÜ Metal,” whose remarkable twitter-project “crazy ass moments in nu metal history” has brought welcome attention back to the style—and shone a spotlight on a new generation of artists reimagining the sound. We talk to Holiday about why he fell (back) in love with the style, the mixture of dumb and brilliant that defines its output, And why Korn were the best sellouts of all time. Then we get heady, and try to think through the political implications of the genre’s white male rage—and what it means that it was so thoroughly rejected by the tastemakers of the Obama era. Come for a validation of the musical trauma of throwing away your copy of Hybrid Theory. Stay for a discussion of the class, politics, taste, and the meaning of Rock in American history. Subscribe to our Newsletter Music: Uniform - "Permanent Embrace"…
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Money 4 Nothing
1 Taking on Ticketmaster (W/ Kevin Erickson) 1:22:49
1:22:49 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:22:49
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяThis summer, the other shoe finally dropped on Ticketmaster/Live Nation. After decades of complaints by everybody from Pearl Jam to Zach Bryan (and after several years of increasingly intense Post-Swifty scrutiny), the Justice Department has filed a lawsuit accusing the massive firm of being a monopoly. In it, lawyers argue that the company is built around size and market-share—allowing it to harvest vast profits, prevent the emergence of meaningful competition, and damage the interests of both artists and fans. If the DOJ wins? That monopoly might get broken up. And what happens then is anybody’s guess. Given the importance of live performance to the music industry, all of this is…a really big deal. Which is why we were delighted to talk all things restraint-of-trade with Kevin Erickson, the director of the Future of Music Coalition. Crucially, it’s not just that any major regulatory move could shatter the long-standing, “convenience-fee”-driven status quo. Turns out, Ticketmaster/Live Nation has its fingers in a LOT of pies. Even the lawsuit itself could go a long way towards revealing the hidden influence that the powerful company has exerted on everything from touring schedules or merch practices to advertising cultures and venue sustainability. Discovery? Can’t Wait. Come for platform monopolies slowly strangling your favorite local venue. Stay for…that too, because it's SUPER real. But also for a pragmatic perspective on our musical ecosystem—and the rare chance to change its trajectory for the better. Subscribe to our Newsletter Music: King Tubby - "African Roots"…
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Money 4 Nothing
1 AI Music VS. The Lawsuit Tsunami 1:07:41
1:07:41 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:07:41
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяIn recent months, AI companies like Suno and Udio have been in the news for the incredible promise of their text-to-tunes tech. Just type in a few phrases, and… an original piece of music of your very own, created in seconds. It’s a revolution! At least that’s the narrative being pushed by the world of venture capital, which has thrown hundreds of millions of dollars at the fledgling firms. To better understand what these companies are promising—and what they could do to the music industry—Saxon and Sam think through some possible futures, from the mind-bendingly good to the vast universe of echoing slop. But even if the tech is there, the world might not follow along as smoothly as the CEOs would like. In particular, the major labels, incensed at what they believe was the wholesale theft of their copyrights, have launched a series of lawsuits aimed at kneecapping the wannabe unicorns. This past week, Suno and Udio responded in startling fashion. Yes, it turns out, they did indeed train their models on recorded music. But it wasn’t stealing, because… the recordings were already online? At stake is more than just the future of not having to learn Garageband in order to make mediocre house. Instead, the battle over audio is shaping up to be a defining moment for generative AI more generally—a conflict with billions on the line. Come for our new theme song. Stay for the techno-social dynamics of copyright within sonic capitalism.…
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Money 4 Nothing
1 Are you Ex-Sphere-enced? 1:05:42
1:05:42 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:05:42
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяLive music continues to evolve in our post-covid, pre-bird flu world—and nothing even approaching a new normal has yet to appear. To try and get a handle on the complexities of a constantly-moving situation, Saxon and Sam decided to go...both big and small. By small, we're talking about the ticket sales for the Black Keys (very canceled) stadium tour—one of a raft of recent underselling events (lookin' at you Coachella) that have kicked up all manner of concern among the music press. What's happening? Well, it's some combination of the internet, the resale market, rapacious monopolies, inflation, and...mimetic vibes? That all? We discuss. And if that's not heady enough, we try to wrap our heads (if not our eyes) around The Sphere—James Dolan's energy-draining, future-baiting, Knicks-helping monstrosity in Las Vegas. Is it the logical endpoint of digital-age concerts? Berghain for Baby Boomers? A utopian use of finance capital in a dark age? An inevitable tax write-off? And...who can actually fill it? Come for The Sphere in the age of mechanical distraction. Stay for The Orb. Subscribe to our Newsletter…
Although rap currently stands at the center of American music, for much of the genre's history, its relationship to the charts was...fraught. Radio was notoriously reluctant to play the brash new style, and major labels took over a decade to embrace its commercial potential. So how did hip hop make it? How did it grow from a regional fluke into a global phenomenon? To learn more, we spoke to Amy Coddington, the author of "How Hip Hop Became Hit Pop: Radio, Rap, and Race." Her work recovers rap's tortuous path through the financialized complexity of the '80s music industry—navigating around established Black radio stations that refused to play it, as a key part of multi-racial dance music coalitions, and through eye-catching MTV videos that reimagined the white-coded mainstream. The results push past the "authentic-or-not" dichotomy that defines hip hop history, revealing how rap was shaped—and driven forward—as much by pop trifles as hardcore truth tellers. After all...you STILL can't touch this. Subscribe to our Newsletter…
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Money 4 Nothing
1 Embracing Our Fandom (W/ Monia Ali) 1:15:12
1:15:12 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:15:12
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяSure—Fans have always driven popular music. That’s what it means to be popular in the first place, you know? To have fans? But if you look around today’s sonic landscape, it feels…different out there. Forget clubs and message boards. Fandoms now have entire worlds, complete with enemies, economic strategies, and complex referential mythologies—dense communities increasingly integrated into the major label money machine. To try to understand what has changed, Sam talks with Monia Ali, from the excellent Fandom Exile newsletter. They explore the cultural genealogy of contemporary fans, tracking how a set of practices built around conventions, Buffy, and shipping percolated into the musical universe, reshaping what it means to listen—or to love—your favorite artist. The difference between Revealed and Experienced Truth? The political economy of fan fiction? The centrality of LiveJournal? It's all there—from One Direction to the world or, at the very least, a Swiftie near you. Subscribe to our Newsletter Subscribe to Fandom Exile Music: Jon McKiel - "Still Life"…
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Money 4 Nothing
1 The Political Economy of Rap Beefs 1:10:02
1:10:02 Відтворити Пізніше Відтворити Пізніше Списки Подобається Подобається1:10:02
Відтворити Пізніше Відтворити Пізніше Списки Подобається ПодобаєтьсяDrake vs. Kendrick was about more than personal insults or verbal one-upmanship—it was a referendum on the most dominant figure of the last decade of rap (Drake), as narrated by the only classicist with the critical clout and popular cred to issue the judgement. But while the conflict was ultra-current, the chosen forum dates back to the very beginning of rap, a symbolically charged space tied deep to its genetic code. What does a rap battle mean? How has it evolved? And why does it carry so much importance? To explore the question, Saxon and Sam go through the history of rap beef, tracing changing conventions and their relationship to both the music industry and the aesthetic structures of feeling that surround it. Then, they try to figure out what made this battle so intense—moving from Drake as 21st century Bowie to the "contentification" of music in the social media era. The Bridge to Gucci to the Grahams….with a few detours. Subscribe to our Newsletter!…
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…
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