News: I'm writing a book. It’s about how streaming platforms are changing music for both listeners and artists. It's about the consequences of playlistification and personalization. Also: labor, politics, surveillance, and the musician-led fight for something better.
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liz pelly
@lizpelly
writing a book about streaming
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continuing my twitter hiatus through 2022
📬 tinyletter.com/lizpelly
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💌 lizpelly at gmail dot com
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thanks everyone who spoke with me. deleting our accounts won't solve the big picture issues with royalties, the need for public arts funding, etc but I still found this to be a way into some crucial ideas about listening & relating to music. plus: got to talk about mp3 libraries
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the Guardian asked me to interview music listeners who recently deleted their streaming accounts. here it is icymi
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Oh, look at this. Spotify announces an audiobooks program on the same day that announces the forthcoming publication of her damning investigation into the streaming platform economy? Coincidence??? Yeah, sure.
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I am immensely grateful to be diving into these topics more deeply, and to @JuliaREagleton . More soon!
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been thinking about what an ex-spotify employee told me for this piece
“they built the entire product around music & people who enjoy music. they went public on the heels of music, & now they’re going to make their money off of podcasts, & they’re going to keep artists screwed.”
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By buying up companies and cutting deals with big stars, Spotify has made itself a podcast destination. @lizpelly wrote in 2020 about streambait content and the company’s bid to become “the world’s number one audio platform.”
thebaffler.com/downstream/pod
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ᴘᴏᴅᴄᴀꜱᴛ ᴏᴠᴇʀʟᴏʀᴅꜱ: ꜱᴘᴏᴛɪꜰʏ ᴏɴʟʏ ᴡᴏʀᴋꜱ ꜰᴏʀ ᴛʜᴇ ꜱᴛᴀʀꜱ (2020)
thebaffler.com/latest/podcast
ꜱᴏᴄɪᴀʟɪᴢᴇᴅ ꜱᴛʀᴇᴀᴍɪɴɢ (2021)
reallifemag.com/socialized-str
ᴏɴ ᴘᴜʙʟɪᴄ ʟɪʙʀᴀʀʏ-ʀᴜɴ ꜱᴛʀᴇᴀᴍɪɴɢ ᴀʟᴛᴇʀɴᴀᴛɪᴠᴇꜱ (2021)
pioneerworks.org/broadcast/libr
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continuing my twitter hiatus through 2022
📬 tinyletter.com/lizpelly
📝 cryptophasia.glitch.me
💌 lizpelly at gmail dot com
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New on the Broadcast: Speaking with about how the label started & expanding audiences for uncompromising music. The latest in Press Play, our series profiling independent publishers and labels.
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New on the Broadcast: speaks with about Purple Tape Pedigree, teaching sampling history, culture as lineage technology + more
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I loved hearing from librarians about granular details of building these sites. “It started out really rudimentary,” said one. “I took hardcopy CDs to the webmaster & he would rip them into FLAC." “It’s really not that hard to serve an mp3 or other music file,” said another.
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It's a model that raises interesting ideas for circulating digital music: acknowledging the importance of accessible, publicly available music, but also the material reality that artists should be paid, and not on a per-stream basis.
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Since 2014 has published software for libraries to run these projects; one of their co-founders: "Getting it right means that lots of people have influence over the model on an ongoing basis. And that the model does not displace the ability to have other models."
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Library-run local streaming has existed for almost as long as mainstream music streaming itself. Ann Arbor's digital music collection launched in 2002, & the library started licensing local music in 2010. The Iowa City Local Music Project launched in 2012.
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Several librarians referred to their local music streaming project as more than just a pool of streamable music, but as a "digital public space" — defined by the collection as much as the connections that get formed in the process of building it:
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New for the Broadcast: my deep dive into public library-run local music streaming collections. Thank you to all of the librarians, musicians and organizers who spoke with me about how these collections work & what they mean for local music:
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