Money 4 Nothing

Money 4 Nothing
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Money 4 Nothing

A podcast on music and capitalism. Dropped bi-weekly.

  1. ١٠ جمادى الأولى

    Roan Rising: The zoomer soft coup and the future of mass culture

    After 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.

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  2. ١٥ ربيع الآخر

    Streaming Music, Streaming Capital (W/ Eric Drott)

    How 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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  3. ٢٤ ربيع الأول

    NÜ METAL FOREVER (w/ Holiday Kirk)

    NÜ 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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  4. ٢٤ صفر

    Taking on Ticketmaster (W/ Kevin Erickson)

    This 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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  5. ١ صفر

    AI Music VS. The Lawsuit Tsunami

    In 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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  6. ٩ محرم

    Are you Ex-Sphere-enced?

    Ticket sales are down for major concerts. Diving into the political economy and cultural impact of The Sphere.

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  7. ١٣ ذو الحجة

    How Hip Hop Conquered the Charts (feat. Amy Coddington)

    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

    ٥٥ من الدقائق

  8. ١٦ ذو القعدة

    Embracing Our Fandom (W/ Monia Ali)

    Sure—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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A podcast on music and capitalism. Dropped bi-weekly.

المعلومات

  • صناع العمل
    Money 4 Nothing
  • سنوات النشاط
    ١٤٤١ هـ - ١٤٤٦ هـ
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    © Copyright 2016 Saxon Baird. All rights reserved.
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    Money 4 Nothing

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