Faith Hahn

To be honest, my appetite for this sort of online blowup diminishes hourly. Though I’m as prone to schadenfreude as any other media professional trying to hold onto relevance in an increasingly winner-take-all economy, there’s something about watching extremely online people have noisy meltdowns that makes me feel like I’m inhaling my own body... See more

We can always opt out of this arrangement, of course, and live happily in meatspace, but that is precisely the point: Offline we exist by default; online we have to post our way into selfhood.

By the way, this book could perhaps be described as the result of my own personal quest. For many years now, I have built my research and writing on a very simple statement of purpose—which I repeat, almost as a mantra, on every possible occasion, in print or public lectures: Music is a source of enchantment and a catalyst in human life , and my... See more

The crowd is the flâneur’s indispensable counterpart: the crowd turns people into observable objects . In Edgar Allan Poe’s ‘The Man in the Crowd’ the protagonist pursues an intriguing figure through the streets of London for a whole night without ever being able to see his face: in big cities, one can stroll through busy streets without... See more

Concerns about the commercial data that comes through all these distribution, royalty and other essential services are also growing. Not only does it allow you to snaffle up a rising star, it would be one of the most sophisticated and complete webs of price tracking your rivals imaginable in the music market. And no regulator wants to rely on... See more

Goldman Sachs’ latest Music In The Air report is forecasting that the “superfan” market could be worth $4.3bn globally next year. The subtext here is that this needs to become a priority focus for the music business as recorded music revenues actually fell short of Goldman Sachs’ expectations in 2024, causing it to downgrade its forecasts for this... See more

Unlike a more classic European operatic takedown of capitalist America—like Kurt Weill and Bertolt Brecht’s brutal “Aufstieg und Fall der Stadt Mahagonny”— these productions seem committed to imitation rather than meaning. They never elevate their scattered details to the level of myth. The productions are a collection of curios, a dress-up that... See more

The decision created a new form of liability known as “inducement”: the technology companies, the court ruled, had seduced the users — the teens, the kids, the fans, the pirates — into infringing copyright. It didn’t matter that these services never hosted any files or made a central index.