A New Spotify Initiative Makes the Big Record Labels Nervous

Ben Sisario, writing at The New York Times:

Over the last year, the 12-year-old company has quietly struck direct licensing deals with a small number of independent artists. The deals give those artists a way onto the streaming platform and a closer relationship to the company — an advantage when pitching music for its influential playlists — while bypassing the major labels altogether.

Although the deals are modest — with advance payments of tens or hundreds of thousands of dollars, according to several people involved — the big record companies see the Spotify initiative as a potential threat: a small step that, down the line, could reshape the music business as it has existed since the days of the Victrola.

This feels inevitable. At some point these digital streaming services will have better algorithms for figuring out what music is not only going to be universally popular but also own the distribution method to help make it so. At that point, what’s the point of a record label?

Here They Come Again

Louis CK

Anna Merlan, writing at Jezebel:

What gets lost in this particular equation is the part where someone makes amends. Nobody is required to lay out a road map for CK and Lauer and others like them to follow to gain forgiveness. Their spots onstage and on TV aren’t guaranteed, and if they remain professionally disgraced for a period of time that they—or their famous friends—find uncomfortable, that’s not the same thing as a “life sentence.”

But these comebacks are also predicated on the idea that redemption is directly equal to being allowed back in the public eye, being allowed to continue to reap money and power and influence in the field that gave you enough clout to feel comfortable harassing or assaulting women in the first place.

None of these men—that we know about—have talked publicly about undergoing counseling, made large donations to RAINN, done anything to understand the power dynamics they were part of. But there’s clearly an eagerness to let some of them back in anyway, after making the barest effort possible. The question is who benefits from that attitude, and who, once again, is harmed.

I thought this piece made a really compelling argument about the questions around what happens next for those accused of sexual misconduct.

Tumblr Is Explicitly Banning Hate Speech

Shannon Liao, writing for The Verge:

Tumblr is changing its community guidelines to more explicitly ban hate speech, glorifying violence, and revenge porn. The new rules go into effect on September 10th.

“It’s on all of us to create a safe, constructive, and empowering environment,” Tumblr writes in its blog post. “Our community guidelines need to reflect the reality of the internet and social media today.”

The Eagles Now Have the Best Selling Album of All Time

Rolling Stone:

The Eagles officially have the best-selling album of all time. Their Greatest Hits 1971-1975 has overtaken Michael Jackson‘s Thriller, reclaiming the top spot nearly a decade after the King of Pop’s death.

The Recording Industry Association of America (RIAA) recently recalculated sales of the best-of collection and certified the LP as 38x platinum, pushing the 33x platinum Thriller to second place, the Associated Press reports. The RIAA confirmed the new certifications to Rolling Stone.

I Won’t Be Marginalized by Online Harassment

The New York Times

Kelly Marie Tran, writing at The New York Times:

It wasn’t their words, it’s that I started to believe them.

Their words seemed to confirm what growing up as a woman and a person of color already taught me: that I belonged in margins and spaces, valid only as a minor character in their lives and stories.

And those words awakened something deep inside me — a feeling I thought I had grown out of. The same feeling I had when at 9, I stopped speaking Vietnamese altogether because I was tired of hearing other kids mock me.

The Courageous Fight to Fix the NBA’s Mental Health Problem

Basketball

Jackie MacMullan is doing a five part series on mental health in the NBA for ESPN:

Yet there remain many obstacles to confront, chief among them the stigma attached to mental health that prompts many players to suffer in silence. There’s another critical sticking point: The union insists that mental health treatment be confidential, but some NBA owners, who in some cases are paying their players hundreds of millions of dollars, want access to the files of their “investments.”

Read ‘Crazy Rich Asians’ Director Jon M. Chu’s Letter to Coldplay Asking to Use “Yellow”

Coldplay

Rebecca Sun, writing at The Hollywood Reporter:

To director Jon M. Chu, the only tune that could fit the bill was Coldplay’s 2000 breakthrough single “Yellow.” Warner Bros. was concerned that the song’s title was problematic (the word has been used as an ethnic slur against Asians), but that’s exactly why Chu wanted it. “We’re going to own that term,” he told The Hollywood Reporter in an outtake from THR’s cover story. “If we’re going to be called yellow, we’re going to make it beautiful.”

An Oral History of ‘Scotty Doesn’t Know’

Film

Uproxx:

Today, EuroTrip – directed by Jeff Schaffer (currently a director and producer of Curb Your Enthusiasm), Alec Berg (executive producer on Silicon Valley), and David Mandel (showrunner of Veep); only Schaffer was allowed a full directing credit – is considered a cult classic, while Road Trip has largely been forgotten. And a huge reason for this is that EuroTrip had a secret weapon that even the filmmaker didn’t quite know they had at the time – a catchy song of betrayal that is played throughout the film called “Scotty Doesn’t Know.”

Twitter Breaks Twitter for Third-Party Clients

Twitter

John Gruber, writing at Daring Fireball:

My strong preference for Tweetbot, on both iOS and Mac, is simple: I prefer its user interface.

Tweetbot presents tweets and replies/mentions in a way that fits my mental model of what Twitter is. Tweetbot makes sense to me — in large part simply because it presents tweets in chronological order. Twitter’s iOS app does none of these things for me. I truly find it confusing. And Twitter no longer even fucking has a first-party native app for the Mac. I don’t want to use a website for Twitter. I want an app.

I think Twitter should reverse course on this whole thing.

I agree with Gruber on this entire thing. Now that Tweetbot can no longer stream tweets, but instead will show them after a one or two minute delay, the app is almost worthless while watching sports. Beside just getting pissed off at the news each day, that’s one of the main reasons I loved Twitter. I’ve never seen a service constantly shoot itself in the foot and alienate its most loyal users as much as Twitter has in the past year.

Spotify Announces Equal Studio Residency Program for Women

Spotify:

In partnership with Berklee College of Music and Electric Lady Studios, Spotify’s EQL Studio Residency will help open the door for emerging female producers and engineers while shining a light on the great work already being done by women in the music industry.

Starting in October, the program will offer three residencies in three different cities: New York, Nashville, and London. During these paid six-month residencies, one participant in each city will work hands-on in our studios and gain access to invaluable networking and mentoring opportunities to further her career.

After #MeToo: Accusers of R. Kelly, Jesse Lacey, and More on Enduring Fan Harrassment

Spin

Andy Cush, writing at Spin:

Martina believes that artists can help survivors by publicly supporting their claims, especially those in tight-knit communities such as the emo and goth scenes, and those who have collaborated with figures like Control in the past. “Silence is very, very powerful. When someone they’ve worked with and are promoting to their followers turns out to be an abuser, they have a responsibility to warn the young women who follow them and not stay silent,” she said.

Anthony Green on Music, Creativity, and Identity

Anthony Green

James Shotwell sat down to talk with Anthony Green over at Substream Magazine:

He continues, “It was through trying to realize that similarity that I learned I was bipolar. And it was during the creation of that song when I was like, this song is about being okay with the fact that you’re paranoid. You know what I mean? Yeah, you’re paranoid, it’s okay, you have to fucking trust that it’s okay that you’re feeling this way because it all goes away. Even the good stuff. And so, it was intended to be a love song about a person and a romantic feeling, and it just ended up being almost a love song about being bipolar and that it’s okay. I wanted to call the record Bipolar Love Songs, but I’m thrilled I didn’t because it came out on the same day as that Kanye record where he makes a big deal out of it.”

Rules Won’t Save Twitter. Values Will.

Twitter

Kara Swisher, writing for The New York Times:

But by that measure, the rest of us plebes, including Mr. Jones, should probably get no protection if we err, no matter how much we rant that tweeting is a right under the First Amendment. It’s not, because Twitter is not the government and it can decide what and what not to host on its service. In any case, if you get kicked off Twitter, you can always unload your twisted mind on your very own website. And it cannot be said too many times that freedom of speech does not guarantee freedom from consequence.

All this is not to say that fixing Twitter will be easy; in fact, I think at this point it is nearly impossible. Add to that the fact that this is a global issue, making it hard to have any consistent rules that address the complexity of the world and, really, its deep and abiding ugliness.

It’s time for Jack to leave as CEO. He failed at the most important tests for his company, time, and time again.

Report: Musicians Receive 12% of Music Industry Revenue

According to a new report from Citigroup, the music industry made $43 billion in revenue in 2017 while only 12% of that actually went to the artists.

Artists’ share of music revenues is small. In 2017, artists captured just 12% of music revenue with most of the value leakage driven by the costs of running a myriad of distribution platforms — AM/FM radio, satellite radio, Internet distributors — augmented by the costs (and profits) of the record labels.

The proportion captured by artists is, however, on the rise (it was just 7% of industry revenues in 2000). The bulk of the improvement is not driven by the growth in music subscription services. Rather, it’s driven by the strength in the concert business.