does the classic phase: “a hit is a hit” hold up in today’s digital music paradigm?

a banger, a hit, a smash…whatever you wanna call it.

The hit song has been the music industry’s way to define music as both a cultural and commercial powerhouse. Music companies aim to try to exploit the potential of both of these, knowing that they can’t go full commercial without cultural connections but not go too cultural and relinquish their ability to garner money.

But are all hits the same? Through asset class analysis (ugh, an upsetting term, to be honest), the essential delineation…

this essay is adapted from my thesis work detailing the realities of cultural production as they meet at the juncture of political economies and globalization. The work has been lightly edited for clarity, and attempts to highlight the inherent imbrications of internet radio, dance music and a globalized music world.

In light of the trend of global mobility and the development of new communication technologies, interest- and identity-based communities are grounded in their immediate territorial and cultural realities, but can also transcend these local conditions…- Lei Guo


The untrained eye takes for granted the sheer amount of connectivity and the…

The Age-Old Battle over Paying the Mechancial.

This is an essay adapted from my thesis work. Recent conversations around the ethics of streaming are providing many avenues for discourse. However, the US needs to open discussions around the elements underpinning its regulatory structure to enact meaningful change.

The players that reign over the music licensing marketplace have changed dramatically over the last twenty years. Digital service providers (DSPs) distribute music versus record companies, consumer behavior demanding music instantly and seamlessly, and entry barriers for creators are lower than ever. Congressional actions to balance these forces have resulted in the Music Modernization Act.

Maybe you should.

Remember scrolling endlessly through hours of Vine in 2013? Endless hours of entertainment. A perfect quasi-video/meme-format had firmly arrived. (Does anyone remember squidward hitting the dab? In any event, thank god YouTube has chronicled a healthy vault of them )

Then I’m sure you remember October 2016 when Vine finally bit the dust. While Vine lived in an in-app-archive for a short time, according to Twitter (corporate owner of Vine) by 2019 “the full Vine archive is no longer available and the ability to access individual vines resides in obtaining the specific URL with unique Vine ID…

Dizzy is a new swirling Canadian quartet whose emotional intimacy and dreamy sonic landscapes captivates listeners in an frankly raw and nurturing space.

From opening for Jack Antonoff’s Bleachers to Tei Shi, and Foreign Air, the three brothers–Charlie, Alex and Mackenzie Spencer–and their friend–Katie Munshaw– hit a tender note with their new single “Stars and Moons.”

“I am starting to see stars and moons
This is how it ends, a courageous boom
And it’s awful sad that two lovers bloom
I am starting to see stars and moons.”

Stars and Moons — Dizzy

I was was growing weary the recycled…

A case for why we shouldn’t be surprised by the Lamar v. Mars outcome.

we may not like it, but it’s pretty undeniable that you’ve heard at least 2+ songs off Bruno Mars’ latest album. it’s also pretty funny to think that the albums’ been out since F-IN’ 2016. That’s a lot of time for an album to saturate the versace sheets if you know what I mean.

I want to take a moment to address the haters who took to socials to complain why it’s infuriating to see this r&b crooner literally run away with this years award show…

William Card

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