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Move fast and break things : how Facebook, Google, and Amazon cornered culture and undermined democracy
Jonathan Taplin tells the story of how a small group of libertarian entrepreneurs began in the 1990s to hijack the original decentralized vision of the Internet, in the process creating three monopoly firms -- Facebook, Amazon and Google -- that now determine the future of the music, film, television, publishing and news industries. Taplin offers a history of how online life began to be shaped around the values of the men who founded these companies, including Peter Thiel and Larry Page: tolerating piracy of books, music and film while at the same time promoting opaque business practices and subordinating privacy of individual users to create the surveillance marketing monoculture in which we now live. The enormous profits that have come with this concentration of power tell their own story. More creative content is being consumed that ever before, but less revenue is flowing to creators and owners of the content. Google, Facebook and Amazon now enjoy political power on par with Big Oil and Big Pharma, which in part explains how such a tremendous shift in revenues from artists to platforms could have been achieved and why it has gone unchallenged for so long. As Taplin observes, the fact that more and more Americans receive their news, music and other forms of entertainment from a small group of companies poses a real threat to democracy. Move Fast and Break Things offers a prescription for how artists can reclaim their audiences using knowledge of the past and a determination to work together. Using his own half century career as a music and film producer and early pioneer of streaming video online, Taplin offers new ways to think about the design of the World Wide Web and specifically the way we live with the firms that dominate it.
Book
iTake-over
iTake-Over: The Recording Industry in the Digital Era sheds light on the way large corporations appropriate new technologies related to recording and distribution of audio material to maintain their market dominance in a capitalist system.
eBook
Reformatted : code, networks, and the transformation of the music industry
Reformatted provides the most accurate and insightful account to date on the upheavals in the music industry over the past two decades. Leyshon traces music's economic geography from the bricks and mortar of recording studios to financial strategies, file-sharing, code and software struggles, and the muddy fields of festivals. Leyson demonstrates the value of using economic geography to understand historical shifts in music and media. He tracks the circulation of music in the age of software, mapping transformation in the Western recording industries as well as examining patterns of use and sharing. His keen attention to the politics of software as a particular moment in the history of media, as well as the changing configurations of finance, make this an essential read for anyone interested in what has happened--and will happen--to the recording industries.--Page [4] of cover.
Book
Selling digital music, formatting culture
Selling Digital Music, Formatting Culturedocuments the transition of recorded music on CDs to music as digital files on computers. More than two decades after the first digital music files began circulating in online archives and playing through new software media players, we have yet to fully internalize the cultural and aesthetic consequences of these shifts. Tracing the emergence of what Jeremy Wade Morris calls the \"digital music commodity,\"Selling Digital Music, Formatting Cultureconsiders how a conflicted assemblage of technologies, users, and industries helped reformat popular music's meanings and uses. Through case studies of five key technologies-Winamp, metadata, Napster, iTunes, and cloud computing-this book explores how music listeners gradually came to understand computers and digital files as suitable replacements for their stereos and CD. Morris connects industrial production, popular culture, technology, and commerce in a narrative involving the aesthetics of music and computers, and the labor of producers and everyday users, as well as the value that listeners make and take from digital objects and cultural goods. Above all,Selling Digital Music, Formatting Cultureis a sounding out of music's encounters with the interfaces, metadata, and algorithms of digital culture and of why the shifting form of the music commodity matters for the music and other media we love.
eBook
The Piracy Crusade
In the decade and a half since Napster first emerged, forever changing the face of digital culture, the claim that “internet pirates killed the music industry” has become so ubiquitous that it is treated as common knowledge. Piracy is a scourge on legitimate businesses and hardworking artists, we are told, a “cybercrime” similar to identity fraud or even terrorism. In The Piracy Crusade, Aram Sinnreich critiques the notion of “piracy” as a myth perpetuated by today’s cultural cartels—the handful of companies that dominate the film, software, and especially music industries. As digital networks have permeated our social environment, they have offered vast numbers of people the opportunity to experiment with innovative cultural and entrepreneurial ideas predicated on the belief that information should be shared widely. This has left the media cartels, whose power has historically resided in their ability to restrict the flow of cultural information, with difficult choices: adapt to this new environment, fight the changes tooth and nail, or accept obsolescence. Their decision to fight has resulted in ever stronger copyright laws and the aggressive pursuit of accused infringers. Yet the most dangerous legacy of this “piracy crusade” is not the damage inflicted on promising startups or on wellintentioned civilians caught in the crosshairs of filesharing litigation. Far more troubling, Sinnreich argues, are the broader implications of copyright laws and global treaties that sacrifice free speech and privacy in the name of combating the phantom of piracy—policies that threaten to undermine the foundations of democratic society.
eBook
Spotify teardown : inside the black box of streaming music
Spotify provides a streaming service that has been welcomed as disrupting the world of music. Yet such disruption always comes at a price. This book contests the tired claim that digital culture thrives on disruption. Borrowing the notion of 'teardown' from reverse-engineering processes, a team of five researchers have playfully disassembled Spotify's product and the way it is commonly understood. Spotify has been hailed as the solution to illicit downloading, but it began as a partly illicit enterprise that grew out of the Swedish file-sharing community. Spotify was originally praised as an innovative digital platform but increasingly resembles a media company in need of regulation, raising questions about the ways in which such cultural content as songs, books, and films are now typically made available online. 'Spotify Teardown' combines interviews, participant observations, and other analyses of Spotify's 'front end' with experimental, covert investigations of its 'back end'. The authors engaged in a series of interventions, which include establishing a record label for research purposes, intercepting network traffic with packet sniffers, and web-scraping corporate materials. Their innovative digital methods earned them a stern letter from Spotify accusing them of violating its terms of use; the company later threatened their research funding. Thus, the book itself became an intervention into the ethics and legal frameworks of corporate behavior.
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Music and Cyberliberties
Musicians and music fans are at the forefront of cyberliberties activism, a movement that has tried to correct the imbalances that imperil the communal and ritualistic sharing and distribution of music. In Music and Cyberliberties, Patrick Burkart tracks the migration of music advocacy and anti-major label activism since the court defeat of Napster and the ascendancy of the so-called Celestial Jukebox model of music e-commerce, which sells licensed access to music.
Music and Cyberliberties identifies the groups—alternative and radical media activists, culture jammers, hackers, netlabels, and critical legal scholars—who are pushing back against the “copyright grab” by major labels for the rights and privileges that were once enjoyed by artists and fans. Burkart reflects on the emergence of peer-to-peer networking as a cause célèbre that helped spark the movement, and also lays out the next stages of development for the Celestial Jukebox that would quash it. By placing the musical activist groups into the larger context of technology and new social movement theory, Music and Cyberliberties offers an exciting new way of understanding the technological and social changes we confront daily.
eBook
The Cambridge companion to music in digital culture
The impact of digital technologies on music has been overwhelming: since the commercialisation of these technologies in the early 1980s, both the practice of music and thinking about it have changed almost beyond all recognition. From the rise of digital music making to digital dissemination, these changes have attracted considerable academic attention across disciplines,within, but also beyond, established areas of academic musical research. Through chapters by scholars at the forefront of research and shorter 'personal takes' from knowledgeable practitioners in the field, this Companion brings the relationship between digital technology and musical culture alive by considering both theory and practice. It provides a comprehensive and balanced introduction to the place of music within digital culture as a whole, with recurring themes and topics that include music and the Internet, social networking and participatory culture, music recommendation systems, virtuality, posthumanism, surveillance, copyright, and new business models for music production.
Book
Music and the Internet
This chapter contains sections titled:
Music and the Internet: The Music Industry
Music and the Internet: The Audience
Music and the Internet: Musicians
Conclusion
References
Book Chapter