
time flies when nobody's having fun.
We started calling them creators because of men
https://substack.com/@toni/note/c-249732812?r=wgri&utm_medium=ios&utm_source=notes-share-action

time flies when nobody's having fun.
We started calling them creators because of men
https://substack.com/@toni/note/c-249732812?r=wgri&utm_medium=ios&utm_source=notes-share-action
Spotify for Sport anyone?
This is from something Jimmy Iovine said on a podcast.
Since the labels lost control of the formats, tech companies commoditised the product.
Look at the video streaming wars. Netflix, HBO Max, Disney Plus are in a bloodbath. But they have a distinct weapon: Differentiation. If you want to watch Stranger Things, you need Netflix. If you want The Last of Us, you need HBO. Yet, if you look at music: Spotify, Apple Music, Amazon Music, and Tidal all offer the exact same product: A library of 100 million songs. As Jimmy points out in the podcast, this lack of differentiation turns music into a utility. Music is now indistinguishable from tap water or electricity. “Right now, music streaming is a utility,” he says. “All the services are exactly the same, they do the same trick. If one of them lowered their price the rest are toast, because there’s no unique offering.”
So music as utility. Collapse of intangible value (until you get back on the vinyl).
This next bit is on the crappy economics of Spotify:
Here is the financial reality that Wall Street has historically hated about standalone DSPs like Spotify.
In a normal tech business (like SaaS or Netflix), as you gain more subscribers, your profit margins increase exponentially because your fixed costs stay relatively stable. Once Netflix pays $20 million to produce an original movie, that cost is fixed. Whether 1 million or 100 million people watch it, the cost doesn’t change. The margin expands.
Streaming music operates in reverse. Because DSPs pay out roughly 70% of every dollar earned back to rightsholders (labels and publishers), their costs scale linearly with their user base. Every time a song is streamed, a fraction of a cent leaves the building.
Iovine put it bluntly: “The streaming services have a bad situation, there’s no margins, they’re not making any money.”
This model only works for Apple, Amazon, and Google, because they don’t needtheir music platforms to be wildly profitable. Amazon uses music as a loss-leader to keep you paying for Prime. Apple uses it to sell $1,000 iPhones. As for Spotify, or any standalone music streaming company, they’re kind of screwed.
From mass audience to micro communities: The conclusion will resonate with the sports biz.
If Streaming Isn’t the Endgame, What Is?
What if Jimmy is right? If the DSPs are “minutes away from obsolete,” what replaces them? Well, I’m not sure the DSPs are going to disappear overnight, but if you’re an artist or a manager trying to sustain yourself in this evolving music economy, the answer is direct ownership.
The artists who will survive the next five years are the ones who are quietly shifting their focus away from the “ATM Machine.” They are building their own cultural hangars.
They are capturing phone numbers on Laylo. They are driving fans to private Discord servers. They are focusing on ARPF (Average Revenue Per Fan) through high-margin merch, vinyl, and hard tickets, rather than begging for fractions of a penny from a playlist placement.
We are witnessing the death of the “Mass Audience” and the birth of the “Micro-Community.”
The music industry has spent a decade obsessing over how to get a million people to listen to a song once. The next decade will be defined by artists figuring out how to get 1,000 people to care forever.

Nice post on the connections beneath the football banter industrial complex, as I'm now calling it.
@barnabyslater An origin story linking Goldbridge to True Geordie and Steven Bartlett?! 🍿 #theclub #thekickoff #thetruegeordie #markgoldbridge #theunitedstand
♬ Looming - Perfect, so dystopian
I found an answer to a question I ask every day, usually when I'm about half an hour in to doom scrolling Spurs clips and dogs welcoming their owners back from war: What makes TikTok so addictive?
@asianbossmedia TikTok isn’t just addictive by accident. Its algorithm is constantly learning, testing, and adapting to keep you scrolling — often without you realizing it. #bytedance #tiktok #socialmedia #addictive #algorithm
♬ original sound - Asian Boss - Asian Boss
TikTok isn't playing the same game as everyone else.
The platform's recommendation engine, known internally as Monolith, doesn't care who your friends are. It doesn't need you to follow anyone, like anything, or build a profile. It watches what you actually do - and it learns in real time.
Most recommendation systems work in batches. They collect your behaviour, process it overnight, then serve you updated suggestions the next day. Monolith updates continuously. Every scroll, every pause, every half-second you linger on a video before swiping away - it's all feeding the machine, which adjusts its predictions immediately.
The system tracks micro-behaviours that users aren't even conscious of making. Rewatch a clip? Data point. Speed up your scroll after certain content? Noted. The length of time between opening the app and your first engagement? That matters too.
This is why TikTok can hook new users so quickly. The "cold start" problem - how do you recommend content to someone you know nothing about? - gets solved within minutes. A few swipes and Monolith has enough signal to start serving content that keeps you watching. The result is an algorithm that knows what you want before you do.
🧵 Here's a similar deep dive on the X algorithm. Some dark shit.
@hemu_rahman The X algorithm now shows you how censored or suppressed your account is. Details from what penalties you incurred from past posts and subject matter. It’s a blueprint for how censored TikTok and Instagram might become and I highly recommend you search your own account as well. #elon #algorithm #censorship
♬ original sound - Hemu Rahman
Note: 🤖 indicates the following material is derived using Chat_UP, Unofficial Partner's language model trained on our podcasts and newsletters.
Enshittification is Cory Doctorow's term to describe the cyclical degradation of online platforms. The central thesis is that the decline of digital services is not an accident or a result of corporate incompetence, but a deliberate, multi-stage process driven by a policy environment that has eliminated the traditional disciplines of competition, regulation, and user empowerment.
Enshittification follows a predictable three-stage lifecycle:
This process is not the fault of uniquely "bad CEOs" but is an effect of a systemic failure. Doctorow identifies the erosion of four key disciplines that once prevented this behavior: competition, regulation, self-help (interoperable technology), and a principled workforce. The most potent weapon in dismantling these disciplines has been the expansion of intellectual property law, particularly the Digital Millennium Copyright Act (DMCA), which criminalizes the creation of tools that allow users to modify their own devices and services, thereby eliminating interoperability as a competitive check on platform power.
Case studies like the intentional degradation of Google Search, Amazon's monopolization of the audiobook market via Audible, and the proliferation of "pain-point pricing" in hardware demonstrate this theory in action. The proposed solution is not individual consumer choice but large-scale, structural policy change. Doctorow points to a recent and unprecedented global surge in antitrust enforcement as a hopeful sign that a broad, cross-sectional movement against oligarchic control is beginning to succeed, even before it has a unified identity.
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Coined by Cory Doctorow, "enshittification" describes the specific, predictable process by which digital platforms decay. While used colloquially to mean "things getting worse," its technical meaning refers to a deliberate cycle of value allocation and extraction endemic to digital intermediaries.
"I coined it with a very precise technical meaning, uh, a meaning that relates to the specific contours of how digital platforms go bad."
Platforms, defined as intermediaries connecting two or more groups (e.g., buyers and sellers on Amazon, drivers and riders on Uber), decay in three distinct stages.
Stage | Action | Primary Beneficiary | Description |
1 | Seduce Users | End Users | The platform offers a superior service, often at a loss, to attract a critical mass of end users and lock them into a "roach motel" where switching costs are high. |
2 | Seduce Businesses | Business Customers | The user experience is degraded to create value for business customers. For example, Facebook began spying on users and inserting unwanted content into their feeds to create a valuable product for advertisers. |
3 | Extract Value | Platform/Shareholders | With both users and businesses locked in, the platform claws back all surplus value for itself, degrading the service for everyone involved. The quality is lowered to the bare minimum required to prevent mass exodus. |
This model refutes the common axiom, "If you're not paying for the product, you're the product." Doctorow provides numerous examples, from advertisers on Facebook to traders on Robinhood, where paying customers are abused just as readily as non-paying users once they are locked in.
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The phenomenon of enshittification is not attributed to the moral failings of individual executives like Mark Zuckerberg. Doctorow notes that platforms were often better stewards under the same leadership in earlier eras. The change is not in the people, but in the environment.
"Mark Zuckerberg is smart enough to be the cause of enshitification. He is the effect. There is a Mark Zuckerberg shaped sociopathic hole in the digital fabric that was put there by policymakers."
The core argument is that the policy environment has been deliberately altered to favor enshittification by removing the disciplines that once constrained corporate behavior.
Google's decline is presented as a textbook case of deliberate enshittification driven by the need to show perpetual growth to markets.
The ability of users to engage in "self-help" through interoperable products (e.g., ad blockers, third-party accessories) is the most powerful deterrent to enshittification. This has been systematically criminalized.
Amazon's subsidiary, Audible, controls over 90% of the audiobook market and uses DRM as a weapon to maintain this "chokepoint."
The combination of mass surveillance and locked-down technology enables a new business model: identifying and monetizing human desperation.
Doctorow is clear that individual action and consumer choice are insufficient solutions. The problem is structural and requires a collective, political response.
While acknowledging the limits of individual advice, Doctorow suggests creators should focus on mitigating lock-in.
The only effective solution is to restore the disciplines that prevent enshittification through collective political action.
"Something has changed in the way that the public conceives of its relationship to power. And it is creating a tailwind that is causing politicians to act in ways that we have not seen them act in living memory... the only way to explain it is that the people are starting to win."