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jerryking : securitization   6

How Spotify’s algorithms are ruining music
May 2, 2019 | Financial Times | Michael Hann.

(1) FINAL DAYS OF EMI, By Eamonn Forde, Omnibus, RRP£20, 320 pages
(2) SPOTIFY TEARDOWN, By Maria Eriksson, Rasmus Fleischer, Anna Johansson, Pelle Snickars and Patrick Vonderau, The MIT Press, RRP£14.99, 288 pages
(3) WAYS OF HEARING, By Damon Krukowski, The MIT Press, RRP£14.99, 136 pages

In April, the IFPI — the global body of the recording industry — released its latest annual Global Music Report. For the fourth consecutive year, revenues were up, to a total of $19.1bn, from a low of $14.3bn in 2014. Nearly half those revenues came from music streaming, driven by a 33 per cent rise in paid subscriptions to services such as Spotify, Apple Music and Tidal...... It is worth remembering that 20 years ago, the IFPI reported global music revenues of $38.6bn. Today’s “booming” recording industry is less than half the size it was at the turn of the century.....The nadir for the recording industry coincided with the first shoots of its regrowth. ....In August 2007, the British record company EMI — the fourth of the majors, alongside Universal, Sony and Warner — was bought by private equity firm Terra Firma (Guy Hands, the fund’s founder and chairman) for $4.7bn; a year later, a Swedish company called Spotify took its music streaming service public. The former was, perhaps, the last gasp of the old way of doing things — less than four years after buying EMI, Terra Firma was unable to meet its debts, and ceded control of the company to its main lender, Citigroup. Before 2011 was out, the process of breaking up EMI had begun...EMI’s demise was foreshadowed before Hands arrived, with a blaze of hubris in the early 2000s. Forde, a longtime observer and chronicler of the music business recounts the “disastrous and expensive” signings of that era......Handspreached the need to use data when signing artists, not just the “golden ears” of talent scouts; data are now a key part of the talent-spotting process.

* to qualify as having been listened to on Spotify, a song has to have been played for 30 seconds.
* hit songs have become increasingly predictable, offering up all their pleasures in the opening half-minute. Their makers dare not risk scaring off listeners.
* for all the money that the streaming services have generated for the music industry, very little of it flows back to any musicians except the select few who dominate the streaming statistics,

.......On Spotify, music consumption has been reorganised around “behaviours, feelings and moods” channelled through curated playlists and motivational messages......The data Spotify collects enable the industry to work out who its market is, where it lives, what else they like, how often they listen to music — almost anything, really. It’s the greatest assemblage of information about music listeners in history, and it has profoundly altered the industry: it has made Spotify music’s kingmaker......when an artist travels abroad to promote a new album, the meeting with the local Spotify office is more important than the TV appearances or the newspaper interviews. ...Spotify enables artists to plan their band’s set lists so they can play the most popular song in any given city.............So what? What does it matter if one model of music distribution has been replaced by another.....It matters because Spotify has profoundly changed the listener’s relationship with music....Older musicians often wax about how, when you had to buy your own music as a kid, you listened to it until you liked it, because you wouldn’t be able to afford a new album for another month. Now you simply skip to the next one, and probably don’t give it your full attention. Without ownership, there’s no incentive to study...........Faced with the impossibly wide choice of Spotify, it becomes easier to return to old favourites — easier than when flicking through your vinyl or CDs, because the act of looking through your own music makes things you had not thought of in years leap out at you. Spotify actually makes people into more conservative listeners, a process aided by its algorithms, which steer you towards music similar to your most frequent listening.....The theme of Krukowski’s book is that the changes in the way the music industry works have been about controlling and eliminating excess noise. That’s in a literal sense and in a metaphorical one, too. Streaming has stripped music of context, pared it back to being just about the song and the moment....but noise is the context of life. Without noise, the signal becomes meaningless......The world of the old EMI was one of both signal and noise; where myths and legends could be created: The Beatles! Queen! The Beach Boys! Pink Floyd! It was never all about the signal. The world of Spotify is one of signal only, and if you don’t appreciate that signal within the first 30 seconds of the song...all may be lost
abundance  algorithms  Apple_Music  books  book_reviews  business_models  curation  cultural_transmission  data  decontextualization  EMI  gatekeepers  Guy_Hands  hits  indoctrination  iTunes  legacy_artists  music  music_catalogues  music_labels  music_industry  music_publishing  noise  piracy  platforms  playlists  royalties  ruination  securitization  signals  songs  Spotify  streaming  subscriptions  talent  talent_scouting  talent_spotting  Terra_Firma  Tidal  transformational 
may 2019 by jerryking
‘An Anthropologist on Wall Street’ — Cultural Anthropology
Tett, Gillian. "‘An Anthropologist on Wall Street’." Theorizing the Contemporary, Cultural Anthropology website, May 16, 2012.

Anthropology can be extremely useful for understanding the contemporary financial world because of all the micro-level communities—or ‘tribes’ to use the cliché term—that are cropping up around the financial system....The event pulled together bankers from all over. They staged formalized rituals with PowerPoint presentations, but also engaged in informal rituals like chitchat in the wings.

As they came together and talked, these bankers were creating a network of ties. But they were also inventing a new language they felt made them distinctive from everyone else. The way they talked about credit was to emphasize the numbers and to quite deliberately exclude any mention of social interaction from the debate and discussion. In the first couple of days I sat there, they almost never mentioned the human borrower who was at the end of that securitization chain. They were also very exclusive. There was a sense that ‘we alone have mastery over this knowledge’....Part two of the CDO gospel was that bankers had had this sudden inspiration that they should stop concentrating credit risk and find ways to scatter it across the system....Looking back there were many elements of securitization that were evidently flawed. The tools bankers were using to disburse risk across the system were themselves very opaque and complex. The very way by which they disbursed risk was actually introducing new risk into the system.......fundamental contradiction at the very heart of the system that almost nobody spotted. Why not? To put it crudely, because there were too few anthropologists, using basic anthropological techniques, trying to understand what was going on. Having an anthropological perspective is very useful. The very nature of anthropology is to try to connect up the dots. That’s something that most modern bureaucrats, most bankers, and most company executives are not able to do, precisely because they’re so darn busy running around in their silos.
Wall_Street  Gillian_Tett  anthropologists  financial_system  securitization  finance  ethnographic  insights  CDOs  connecting_the_dots  cultural_anthropology  anthropology  tribes  silo_mentality 
march 2017 by jerryking
The New Alchemy At Sears
APRIL 16, 2007 | BusinessWeek | By Robert Berner.

Sears is on the cutting edge of a financial innovation: it has created $1.8 billion worth of securities based on the brand names Kenmore, Craftsman, and DieHard. In essence, it has transferred ownership of the brands to another entity, which it then pays for the right to use the brands. The deal, carried off last May, was the biggest "securitization"
of intellectual property in history....Such daring shouldn't come as a surprise at a Lampert-run shop. When he looks at a company, he sees value hidden from plain view—value that traditional accounting methods often miss. That keen eye is what prompted him to buy up a majority of Kmart's bonds at a deep discount after it filed for bankruptcy protection in 2002. He saw that Kmart's real estate was deeply undervalued by creditors, and figured that would protect his investment.
He was right....Sears says there is nothing unusual about securitizing assets; many companies, including most of the largest retailers, evaluate alternatives to create value from their brands, real estate, and other assets.
Sears  intellectual_property  securitization  brands  hedge_funds  latent  hidden  financial_innovation  undervalued 
december 2010 by jerryking

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