Faith Hahn

In other words, streaming is a lot more profitable for all the actual value creators after we bypass these technopolies.

Old rights systems and remuneration struggle to keep up, and meanwhile, new creators keep creating, and audiences keep engaging. The wheel keeps turning in an explosion of creativity and growth, while legacy organisations wring their hands in confusion. Adaptation is made even more challenging by the fact that these new methods of consumption are,... See more

Although late to the party, this year Universal, through Virgin Music Group, acquired Downtown Music Holdings for $775 million in cash in December 2024. Downtown Music Holdings includes a number of companies, most notably CD Baby, Fuga, AdRev, SongTrust, and Downtown. Through these companies, Universal now owns independent music recordings,... See more

Whatever initial appeal this argument has, it owes to the unpleasantness of corporate drudgery in general, not to the predicament of female corporate drudges in particular. Invariably, the job that features in articles like Andrews’s is soul-sucking, pointless and therefore presumed to have been chosen solely for the prestige it confers (although... See more

Hermeneutic labor is the burdensome activity of: understanding and coherently expressing one's own feelings, desires, intentions, and motivations; discerning those of others; and inventing solutions for relational issues arising from interpersonal tensions. I argue that hermeneutic labor disproportionately falls on women's shoulders in... See more

This process directs anti-patriarchal, feminist sentiment into the narrow channel of the mirror, rather than outwards, towards communal, longer-term feminist goals. The soft smiles and high-pitched giggles are admittedly alluring after the disappointments of earlier feminist movements, but the ecstasy of idiocy reveals a darker sentiment than even... See more

The story, Kelley writes, is “the tale of what happens when working-class consumption of popular culture overrides the interests or concerns of popular culture workers . . . a story about the limits of solidarity . . . [set by] consumers whose own self-interest may actually clash with the demands of laboring artists.”