Big Tech and social media are facing backlash across the globe. It will be a murky period for big tech and the social media platforms. Many expect the Biden admin won’t find favoritism with the boys of big tech. It’s very clear that the social media media platforms has lost its way. Not only are the lawsuits piling up, but the platforms have been cluttered with stories, photos, videos, tweets and fleets. The platforms have lost their uniqueness and its become a race to adopt the newest feature. As far as getting your message out there, it’s getting trickier to navigate the clutter in the massive sea of litter.
The idea that the social media services are platforms is dying quickly. In the new world, they’re publishers that create algorithms that lead users to specific content.
The social media giants are leading users to think that we are living in the days of 2007 with a proper open platform. That’s not the case today. The new platform is “programmed” and customized by outside users.
Breaking up these companies will dominate the conversation this year.
The concert industry is still mourning over cancellation of Glastonbury Festival. The Festival was cancelled two years in a row because of the global pandemic.
The organizer released an official statement:
“With great regret, we must announce that this year’s Glastonbury Festival will not take place, and that this will be another enforced fallow year for us.
In spite of our efforts to move Heaven & Earth, it has become clear that we simply will not be able to make the Festival happen this year. We are so sorry to let you all down.”
Sending shockwaves through the concert industry many are wondering if touring will resume at all in 2021. Although shows are set to resume in the fall many aren’t getting their hopes up. The virus is raging out of control, and many are waiting patiently for the vaccine roll out hoping that we develop some type of herd immunity.
“I just want to write songs that can become a part of somebody’s personal soundtrack. A song can claim a moment in our lives or a feeling that we might just forget if there wasn’t a melody tied to it. SOCIALS music is about coming face to face with these moments, hopeful or bleak, and embracing them” shares the indie pop artist.
His debut single “Oxygen” was released in February 2020. Check out Harlem on KOAR’s Indie Invaders Playlist.
On your mark, get set, go!
JESSIA WINS with her new track I’m Not Pretty. Not only is she on the cover of Pop Rising, Spotify also added the song on Today’s Top Hits which launched the indie artist to new heights with 27 Million listeners. The song was released on Jan 8th and quickly exploded to 8 Million Spotify streams. I’m sure a deal will be wrapped up in few weeks with this Canadian unsigned talent.
The viral track quickly came together and it’s about body positivity.
JESSIA says: “I heard a quote saying, ‘I’ve never seen two pretty best friends’ and it got me thinking that all of my friends are gorgeous so maybe I’m not the pretty one. Maybe I am just the fun one? I was feeling frustrated and bitter one day, so I wrote this hook to get me through. People related to it and the positivity started rapidly spreading and then having Elijah Woods onboard to produce and be a part of it, made it all the more special. We are both so proud of what has come out of this song and it’s just the beginning!”
I just read a brilliant piece by Mark Mulligan that talks about the attention economy, consumption and culture.
When you’re promoting a new song, trying to find listeners along the way, you’re competing against a machine that is fed constantly with useless content just to steal your attention.
He notes, “The increasingly fierce competition for consumers’ attention is becoming corrosive, with clickbait, autoplay and content farms degrading both content and culture. What matters is acquiring audience and their time, the type of content and tactics that captures them is secondary. It is not just bottom feeder content farms that play this game, instead the wider digital entertainment landscape has allowed itself to become infected by their strategic worldview.
The algorithmic machine is designed to consume content. It has nothing to do with quality or the type of content. It’s calories in and calorie out. Artists, entertainers, influencers, and laymen feed the machine minute by minute and with each calorie consumed, it becomes bigger. The machine is like Pac-Man eating everything in its path.”
“Do not for a minute think this is a media-only problem. The corrosive impact of the attention economy can be seen right across digital entertainment, from hastily churned out scripted dramas, through to music. Artists and labels are locked in a race to increase the volume and velocity of music they put out, spurred on by Spotify’s Daniel Ek clarion call to up the ante even further. In this volume and velocity game, algorithm-friendly A&R and playlist hits win out. Clickbait music comes out on top. And because music attention spans are shortening, no sooner has the listener’s attention been grabbed, then it is lost again due to the next new track. In the attention economy’s volume and velocity game, the streaming platform is a hungry beast that is perpetually hungry. Each new song is just another bit of calorific input to sate its appetite.”
“In this world, ‘streamability’ trumps musicality, but it is not just culture that suffers. Cutting through the clutter of 50,000 new songs every day also delivers diminishing returns for marketing spend. Labels have to spend more to get weaker results.”
The only way to break free from the machine is to stop feeding it. It will eventually starve itself. It will still exist but it won’t be an overpowering force and content and culture will have value and meaning again.
“The music industry has developed an attention dependency in the least healthy environment possible.
“This is not one of those market dynamics that will eventually find a natural course correction. Instead, the music industry has to decide it wants to break its attention dependency and start doing things differently. Until then, consumption and content will continue to push culture to the side lines.”