2724
Has 10 years of Spotify ruined music? | Music | The Guardian
(yes)

Setting aside the issue of money, these playlists have fundamentally changed the listening experience. Spotify prides itself on its personalised recommendations, which work by connecting dots between “data points” assigned to songs (from rap, indie, and so on, to infinite micro-genre permutations) to determine new music you might like. Its model doesn’t code for surprise, but perpetuates “lean-back” passivity. There is no context on the platform, merely entreaties to enjoy more of the same: “You like bread? Try toast!”

It limits music discovery and the sound of music itself. Singles are tailored to beat the skip-rate that hinders a song’s chances of making it on to a popular playlist: hooks and choruses hit more quickly. Homogenous mid-tempo pop drawing from rap and EDM has become dominant: New York Times pop critic Jon Caramanica regularly disparages this sound as “Spotifycore”.
music  spotify  culture  business 
13 hours ago
SongShift
transfer spotify playlists to apple music
music 
yesterday
Barbara Ehrenreich Is Not an Optimist, but She Has Hope for the Future | The New Yorker
Class insularity in the media élite is a huge obstacle—people who, when they see a working-class person, it’s probably the FedEx guy. I can’t tell anyone how bad that is if they haven’t already noticed. The other problem is that publications are afraid to offend advertisers, who tend not to want their ad for diamonds to be facing a page about indigent women with cancer.
capitalism  class 
6 days ago
How Tide Detergent Became a Drug Currency -- New York Magazine - Nymag
Tide bottles have become ad hoc street currency, with a 150-ounce bottle going for either $5 cash or $10 worth of weed or crack cocaine.

2013 but still
drugs  business 
11 days ago
The Many Lives of Marc Jacobs - The New York Times
“THE DRIVING FORCE in my life is fear,” Marc Jacobs said.
marcjacobs  vestiarium 
25 days ago
Second person cleared of HIV remains free of virus one year on | Society | The Guardian
Adam Castillejo, who was until Monday known only as the “London patient”, was declared free of HIV last year, 18 months after stopping antiretroviral therapy following a stem cell, or bone marrow, transplant to treat a type of blood cancer.

Timothy Brown, the first person to be cleared of the virus, underwent a similar treatment for acute myelogenous leukaemia. While both Brown and Castillejo had chemotherapy, only Brown had radiotherapy as part of his treatment.

In a paper published in the journal Lancet HIV on Tuesday, researchers say that 30 months after stopping antiretroviral drugs which suppress HIV, and 46 months since the transplant, Castillejo remains in remission.
hiv  health 
25 days ago
Will the Millennial Aesthetic Ever End?
Propagated by brands and advertisements, it is a fundamentally commercial aesthetic — and why alienate any potential customer? Millennial marketing showcases models of many races and body types, and the products on offer are obvious in their charms. Every sofa and soft-cup bra presents itself not as evidence of distinctive taste but as the most elegant, economical, and ethical solution to the problem of sofas or soft-cup bras. Simplicity of design encourages an impression that all errors and artifice have fallen away. The millennial aesthetic promises a kind of teleology of taste: as if we have only now, finally, thanks to innovation and refinement, arrived at the objectively correct way for things to look.

If you simultaneously can’t afford any frills and can’t afford any failure, you end up with millennial design: crowd-pleasing, risk-averse, calling just enough attention to itself to make it clear that you tried. For a cohort reared to achieve and then released into an economy where achievement held no guarantees, the millennial aesthetic provides something that looks a little like bourgeois stability, at least. This is a style that makes basic success cheap and easy; it requires little in the way of special access, skills, or goods. It is style that can be borrowed, inhabited temporarily or virtually. At the very least, you can stay a few hours in a photogenic co-working venue. At the very least, Squarespace gives you the tools you need to build your own presentable online home.


WAS LITERALLY *JUST* TALKING ABOUT THE SQUARESPACEIFICATION OF WEB DESIGN
design  millennials 
27 days ago
IDLES - The Bristol punk band for the age of social collapse and Kanye West - Loud And Quiet
“Do you find you want to write more political stuff now because of what’s going on?” asks Bowen, stepping into the role of interviewer. “No. I want to be more obtuse,” answers Talbot obligingly. “It would be lame to be like Green Day singing all that American Idiot stuff; it’s, like, well done. I bet Little Mix will come out with a political song any day now. I want to be more expressive and explore myself as a man within this political climate. That’s what we’re doing with the album. I’m interested in how politics affects my psyche, my emotions and my role in society. Basically, I don’t want to keep talking about the bastards and focus more on me as a bastard.”
music 
27 days ago
Miuccia Prada & Raf Simons – Issue 8 – System Magazine
.
Raf Simons: Maybe structure might be stopping that. Even my own Raf Simons brand – compared to a big power brand like Dior – is still structured. That gives possibilities, but it also gives a lot of non-possibilities. For me, I would be excited if Miuccia would do the Raf Simons brand for a season, and then I would do a season for Marc Jacobs in New York, and Marc would do Prada; I think the audience would be totally excited by that.

Miuccia Prada: Ah, completely!

Raf Simons: Maybe fashion should operate more like a museum, where you have a museum curator, but you have guest curators come in, too. I think that the fashion business has recently stopped exploring its own possibilities; it should become much more liberated once again.

---

How important is that when it comes to appreciating fashion design– actual garments?

Raf Simons: The reason I wear Prada is not just because I like the clothes; it’s also because Miuccia has a mindset that I can relate to. You know, there are all these brands in the world today making so many beautiful things – because everybody knows how to make clothes and design patterns and make things look beautiful – but I don’t want all that shit if the mindset is not what I can relate to. So even if a brand has a beautiful coat, if the person who designed it is not the kind of person I can relate to in terms of vision or opinion or culture, then I just don’t want to wear it. And I think that is different from lots of people.

You think for most people garments eclipse meaning?

Raf Simons: I think lots of people just grab whatever they can, simply because it is beautiful. And I think that is where fashion became a very different thing in the last decade. You take a bag from this brand, shoes from that one, a coat from another. When I was growing up, I always liked the fact that in fashion there was this idea of the Margiela woman, or the Dries Van Noten woman, or the Yohji Yamamoto woman or the Helmut Lang woman, or the Prada woman, or Prada man. It was based on mindset and culture. And because I think that the mindset that Prada has is extreme, I am very impressed that it could be scaled up to become this kind of institution. I am a big mess of course, because I have a similarly extreme mindset and yet I am still sitting here with a small brand!
vestiarium  systemmagazine  interviews  prada  rafsimons 
27 days ago
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