All these developments give me hope. People are finally pushing back against the algorithm. I just realized how awful so much of today’s TV has become, and I just want to read and go analog. The internet has become toxic.
Bookstores used to be fun to go to. Maybe they’ll be less full of trash and toys?
Good call on bookstores! So many toys there...and donuts, coffee, etc. Needs to be one of those mysterious revolving doors that is a portal to the cafe/ that way the rest of us can have quiet time.
And just this morning I was fondly remembering spending time in bookstores, while lamenting that there are none in my town. Perhaps if B&N comes back I will have something to do other than sit in front of a computer and snark.
People have been casting shade on Homer for years for not "really" existing. But we have direct evidence that Socrates, Plato, Aristotle etc. were genuine historical figures that is very easy to prove. The ones who claim they are not "real" are blowing steam out of their asses.
Without these Greek Masters, society would still be walking on all 4's. Based on recent conversations on social media, a good % of society still is. Natural law is the basis of enlightened society and humans.
I immediately clicked on this article because my boss is starting a podcast in the new year 🤣. It makes no sense to me given the nature of the work we do, what I see behind the scenes (in regards to basic competency) versus what is being advertised as the theme of this podcast.
I can see how they’d think it’d get them more clients… but in such a deceptive way? it’s not something I can get behind.
I’m on my way out and determined to make a living off my music writing and art instead of spending most my waking hours building someone else’s dream. TBH I think these ppl are just desperate to be the loudest “thought leader” voice and will do it by any means necessary. The very notion of a “thought leader” is insulting to humanity & Mach 10 grandiosity.
On the flipside, I too am very happy about the collective consensus of sheer exhaustion of the algorithm model for consumption of music and other art forms, especially as an artist.
I am all about a return to the analog world for reasons beyond art, I think dependence on tech / social media is destroying our ability to form & maintain relationships. We need to get back to Actual face time in real life before the connection crisis gets any worse. 🙏
Good for you! I gave a rather long reply to the DJ comment above, so I don't want to repeat myself here. The gist of it was that whether digital or analogue, they're tools (instruments) and it's what you do with them that matters. I do get your point. Digital technology has put the means into the hands of many and enabled people with little or no talent to produce facsimiles of ‘art’. However, ultimately it's the content that's important rather than the means by which it's produced. In that sense I don't think that analogue is inherently superior to digital or vice versa (although I would say that most of the musicians I know do favour analogue. Personally, I think that's down to a kind of conservatism and in some cases a snobbish attitude to anything ‘new-fangled’. I hasten to add that by no means am I accusing you of that, but, at the risk of repeating myself, how else do you explain those who, e.g., love Hammond organs but hate synthesisers?). There's always a novelty factor with new technology, but as with all fads, it'll wear off sooner or later. More than anything else it's the need to express themselves through art that distinguishes artists: after all, the arts aren't the easiest of careers and it's that need that makes us persevere through the hardships. Anyway, I wish you the very best of luck in all your artistic endeavours.
Thank you very much! And when I referenced “analog” vs digital, I was using analog to refer to “real life” as opposed to us always being on social media / apps etc. - I use technology in the creation of music all the time, shoot we wouldn’t have recordings of music at all without it! I think what really gets draining on so many of us is the trap of having to crank out and play the “content creation” game in social media algoritms in order to get your music seen / heard by anyone because that’s how the majority of ppl find anything these days. In my experience it has been a huge energy-suck and detriment to the creative process and just feels really.. toxic? I think social media in general feels that way but it adds a strange element that none of us really signed up for haha so it’s hard to find balance with it! Cheers to you and I hope you’re having a beautiful holiday season!
Are architects who use computers instead of drafting and drawing no longer worthy of the title? What happened to brokers with the advent of trading software? What about all those musicians who don’t write their own music? A computer used to be a person. Is it not now, amongst the myriad of meanings, an instrument?
A computer is just another tool, it's what you do with it that counts. I'm a musician (OK, I'm a drummer, primarily (I also play flute, bass, guitar & keyboards in descending order of ability), so some may dispute that 😉) and my son, who started as a guitarist, is now primarily a DJ. No doubt I'm biased, but I really like his stuff and it is very definitely creative. I'm convinced that if Bach and Mozart had today's technology at their disposal they'd have been enthusiastic users of it. Is it that far removed from a composer imagining melodies and harmonies and scoring them for an orchestra to play (even if most composers play the piano)? I've been in bands that had a snobbish aversion to synthesisers but loved Hammond organs. Where do you draw the line? Electric guitars are a different instrument to acoustic: Jimi Hendrix would not have been the innovative genius without the former. Yello, a band I like very much, use a mixture of ‘real’ musicians and samples/sequencers. I used to play detractors of technology in music one of their songs and ask them to guess what was played and what was sequenced. Without fail they would say the drums were programmed, the acoustic guitar played, but it was the other way around! My uncle, who was a painter, once said to me “The only thing that matters about a work of art is whether it speaks to you or not.” My son may not play guitar anymore, but he puts just as much effort, if not more, into his mixes. There are some rather tragic reasons that put him off playing and he hasn't given it up completely. The point is that music is in his soul and he found another outlet. As a drummer I got into sound engineering and production – I was always the first to lay down my tracks, so hung around in studios a lot – and found them just as creative and fulfilling, if not quite as satisfying as the best gigs I've played. But that's my personal opinion and experience and, being just as honest, production and engineering have actually been more consistently satisfying; if things are going badly you can walk away and start again, at a bad gig you have to plough through to the end. Having said all that, I don't think anything will ever replace the visceral experience of performing and creating music with other musicians. It's the social element of people playing together that gives it an immediacy and makes it a unique experience, but in that it's similar to the difference between a recording and a live performance. Recordings of live performances are often disappointing and in the case of 10' solos, can even sound indulgent. They don't work because you're not there as part of that experience. I've always treated the two as quite distinct: in a recording you use the tools of a studio to best express what you're trying to get across. In a performance the audience is as much part of it as the performers, it's an experience beyond hearing or listening. The instruments aren't the important thing for either; pianos aren't the same as they were when much of the keyboard repertoire was written; the bass drum pedal was only invented in the early 20ᵗʰ century; synthesisers, reverbs, delays, compressors, limiters, noise gates, harmonizers (Harmonizer was actually a trade mark, so I should really call them pitch shifters) and the almost ubiquitous auto tune (which, I must admit, I find intensely irritating) are all relatively recent inventions and have, on the whole, enriched musical expression and possibilities (admittedly there's a fashion bandwagon for new technologies that leads to their being over used initially: autotuned vocals being the most recent example; in the 80s it was gated reverb drum sounds, although that was more of a new technique rather than a new technology). Occasionally there are cover versions that are significantly ‘better’ than the originals (although that's very rare and really a matter of taste. More often than not, the version heard first will be the best liked). Ultimately it's a matter of our creativity and expressiveness more than the means used to express them. They're the things that count.
For years, the B &N by me was "Crucifyingly boring," and kinda bummed me out when I'd cut through it to get to other parts of the mall. I was in there not too long ago, and it honestly feels like a new store.
Also: I work for a fortune 100 company, and our CEO tends to see himself as a bit of a rockstar. We now have a podcast, and I'm pretty sure if you look up "cringe" in the dictionary, it's just a list of the episodes.
Related to the Whole Foods plastics-infused ribeye, would love to hear your take on the recent NYT revelation that the EPA has known about PFAS in sewage sludge for decades while allowing it to be shuttled to unsuspecting farmers all across the country. Is the entire America food chain on in an irreversible slide into death and disease?
Exactly my thought. Followed by wondering what business exists that isn’t possible to become a scam in some way? In the ancient world they had scams too, maybe just way more obvious ones. Scams will never die.
I’ll comment a little more seriously on the “DJ as influencer” section and the claims made for it. Briefly as an old, very old DJ, I don’t really buy it. It strikes me as digital froth, a minute change in perspective with no real substance from observers looking for clicks. Sure, what is called DJ gear may be increasing in sales, although I personally think that much of this equipment is for what I call “file fiddling” not riding the groove with a stylus or even a laser. I said I was old.
Beyond that, the internet has been cluttered with DJs for what seems like forever. Just like bedroom musicians, bedroom DJs are not universally accomplished however many of them there are, although out of loyalty to the DJ tribe I might suggest that they have more to offer than the average lonely singer-songwriter, just a tiny little bit. However, as I’ve said elsewhere in the Spotify thread, the restricting issue is the time available to listen. None of us have over 24 hours in our days and there is a total flood of all sorts of cultural detritus zooming down our input tubes.
So, once again, essentially algorithms take over and suggest who you should listen to next.
In the real physical world, sure, groups of friends can get together with two turntables and a microphone and jam in the park or a hall or the living room as they have done for decades. But, and I hate to say this, it doesn’t scale. And in-group influencing concerning style is a pretty restrictive valve. So, I'm unconvinced about this changing any trends. Be lovely if I’m wrong.
I’ll add that regardless of what I write above I’m continually astounded at the vast number of 7” releases being pumped out in small runs these days. And the prices! Approximately $10, or £10 even, a piece plus shipping unless you have a very fine record shop in your town. You’ll also find some of this on Bandcamp as files - but then you’re not really DJing any longer, are you?
Anyway, if you want to hear a vast selection of music lovely arranged by those who often have real skills of both selection and mixing, you can’t really do better than surrender to the “algorhythms” of Mixcloud and, to a lesser extent, SoundCloud. No doubt there are others, but those are the two elephants in the room.
Also, I get where you’re coming from as someone with a deep history in the DJ world—it’s clear you’ve been part of this culture for a long time. But I think your perspective may miss some of the nuances of what’s happening in the current scene.
You describe the rise of DJ culture as “digital froth” or “file fiddling,” but that overlooks how this shift represents a broader transformation in music consumption and creation. Today’s DJs aren’t just spinning tracks; they’re curating entire experiences, often blending genres and cultures in ways that feel deeply personal and innovative. Yes, the tools are different—controllers and software may have replaced vinyl for many—but the artistry and intent remain. Technology is simply allowing a wider range of people to participate in the culture, and that’s not a bad thing.
You mention the flood of content and how algorithms dictate what we listen to—and sure, they play a role. But I’d argue that’s part of what’s fueling this movement. DJs today are breaking through algorithmic noise by offering something authentic that resonates. People are gravitating toward these creators because they’re tired of cookie-cutter playlists and mass-produced sounds. That’s why you’re seeing a resurgence of indie music, handpan frequencies, lofi, and genres like amapiano and house. These DJs are crafting narratives and vibes that connect on a human level, rising above the noise.
And while you suggest that in-group influencing is restrictive or unscalable, I’d say the opposite is true. The internet has made these communities global. A living room jam session can go viral and influence people on the other side of the world. This is why DJ culture is thriving—it’s no longer just about the music; it’s about creating and sharing a collective experience.
As for the tools, whether someone’s spinning vinyl, mixing on Mixcloud, or creating mashups with a MIDI controller, it’s all DJing. What matters is the creativity and connection it fosters. The small-run vinyl you mention is a testament to this: people are willing to spend on music they believe in because it feels genuine.
I agree with you on one thing—time is limited. But that’s why this shift matters so much. People are choosing music that elevates their mood, raises their energy, and offers something meaningful. DJs today are at the heart of that movement, and it’s why they’re becoming influential not just within the music world but across creative communities.
You don’t have to buy into it, but I think this shift is real, and it’s already changing the way we experience music. It’s not just a trend—it’s a response to the times we’re living in.
I completely agree with his take on the music culture phenomenon—it’s so evident everywhere. There’s been a noticeable rise in up-and-coming DJs, especially in Germany and across Europe, and it’s reflected in so many ways, even in something as simple as my YouTube algorithm. It feels like a movement within the creative community, and what makes it so refreshing is the music itself.
A lot of these DJs are mixing tracks that feature indie artists or even producing their own music, often collaborating with vocalists from both mainstream and underground scenes. It’s like people are collectively moving away from the repetitive, low-vibrational sounds that have dominated for so long. There’s this clear gravitation toward music that feels more meaningful—handpan music, meditation frequencies, lofi beats, and even jazz are becoming staples for many.
It’s as if this generation is more focused on uplifting their vibrations and cultivating positive energy. We’re seeing genres like amapiano, house, and African music gaining more traction on global charts, where rock, pop, and hip-hop used to dominate. It’s all about feel-good music now—music that connects on a deeper level, and I think that shift is such a beautiful reflection of where we’re heading.
Well, I certainly hope you’re right with the general points you make. I found what you have to say very interesting. Full disclosure: I’m being a little provocative with expressions like “file fiddling.” I own up to it! The techniques employed in DJing are not really the point as you observe correctly. The “DJ controller and associated software” train left the station long ago. Without me being on board. I thought about it, bought some bits and pieces, but I just go crosseyed looking at the screen. And I just think differently and have my own personal musical databank, which is mostly physically oriented and based. But, please note, I am no stranger to mp3s. I have an embarrassingly large number on my hard drives. 69,139 items adding up to 228.4 days! And a virtual ton of unopened zips and rars. Yes, time available is the limiting factor, although there are duplicates in those numbers and among my groaning shelves and crates.
My general point is not so much about the excitement of the scene, which for what it’s worth has been trundling along for some time in the little neck of the internet woods that I spend time in. Even a dinosaur like me has some mixes up and follows a few interesting DJs! Perhaps there’s been, or there currently is, an uptick in stylistic freedoms and feel of the music. Which would certainly be nice and I would, of course, approve of it. What I’m saying is that as soon as you’re engaged with the likes of Mixcloud and SoundCloud you’re subject to algorithms. Nothing necessarily wrong with that, some algorithms work well, but to claim that you’re in some purely analog real-world space is just not going to work as a convincing argument with me. Both SoundCloud and Mixcloud attempt to keep you on their sites with recommendations, autoplay, etc.
As someone who’s been deeply involved with African and reggae and “world” music for over forty years, I am thrilled that the west is once more opening up to sounds from other parts of the world. I have a reservation or two. Back in the day we were afflicted with a thing called “rockism,” which I expect you’ll understand the meaning of without explanation. Anyway, what we were interested in all that time ago was bringing the musical cultures of the rest of the world to Europe and northern America. It turned out that there was a lot of complexity and internal debate about how to do this. Eventually, I believe we were moderately successful, although some thought it was all something of a squalid ripoff of other cultures. In the time since we’ve had some waxing and waning, but I’ve noticed what you talked about with amapiano and Afrobeats, which are not to be confused with Fela Kuti’s afrobeat. My reservation is that to some extent this new mostly electronic music from Africa and other cultural hot spots tends to be very influenced by Euro and US styles. Sure, it has an African flavour and music mutates all the time, especially African music, but I feel that some of its distinctive historic qualities have been diluted. The other side of the coin is that we are actually creating a global culture. We’ll see.
Thanks again for your input. I’ll keep thinking about it.
Just a few notes on podcasts. Disclaimer: I have worked in podcasting since 2014 and founded a podcast agency in 2019.
First, David Pierce is inaccurate when he says, "There’s something strange happening these days in the podcast world..." The fact is that companies have been using podcasts for thought leadership, marketing, and networking for over a decade. I suspect Pierce's observation results from heightened attention on the medium in recent months.
To call these uses of podcasting "grifts" is extremely unfair and myopic. As with any medium, there are plenty of businesses that use podcasting dishonestly, but the majority use podcasts in perfectly reasonable, honest ways.
Second, the Bloomberg bit about "Your next podcast might be a meeting in disguise" is not at all "new." This podcasting use case is actually older than the corporate podcast. In fact, there are multiple podcast agencies in the U.S.A. whose entire business model is to create these types of podcasts for businesses.
However, I agree with Ted on this one. My company does not do this, and we have repeatedly turned down potential clients who ask us to. It really is grift.
In my professional opinion, the only valid reason to make a podcast is to provide valuable content to a specific audience. If you ask someone to be a guest on your podcast, it should be because your audience will benefit from their perspectives or expertise.
I can't tell you how many podcasters I've met who don't have an audience, don't care about growing an audience, and only use their podcast as a way to reach people who otherwise wouldn't give them the time of day.
The last point I'll make is that podcasting is NOT "alternative media." The most recent data indicates 53% of Americans over 18 have listened to a podcast in the last month and that the 18-35 demographic is more likely to listen to podcasts than listen to terrestrial radio or watch cable TV.
So, while there are bad actors in podcasting (as in any medium), pooh-poohing corporate podcasting is unfair. But if someone asks you to be a guest on their podcast, ask them how many listeners they have and what their audience development budget is before you say yes.
All these developments give me hope. People are finally pushing back against the algorithm. I just realized how awful so much of today’s TV has become, and I just want to read and go analog. The internet has become toxic.
Bookstores used to be fun to go to. Maybe they’ll be less full of trash and toys?
Good call on bookstores! So many toys there...and donuts, coffee, etc. Needs to be one of those mysterious revolving doors that is a portal to the cafe/ that way the rest of us can have quiet time.
I can attest to the B&N transformation. My local store is now a joy to wander. It warms my heart.
I loved the James Bond story. Jeff Bezos, buffed up as he is now, could easily be a Bond Villain.
"Do you expect me to talk, Bezos?"
"No, I expect you to buy, Mr. Bond!"
And just this morning I was fondly remembering spending time in bookstores, while lamenting that there are none in my town. Perhaps if B&N comes back I will have something to do other than sit in front of a computer and snark.
I misread that line as "CNN dreck" - my bad.
People have been casting shade on Homer for years for not "really" existing. But we have direct evidence that Socrates, Plato, Aristotle etc. were genuine historical figures that is very easy to prove. The ones who claim they are not "real" are blowing steam out of their asses.
Without these Greek Masters, society would still be walking on all 4's. Based on recent conversations on social media, a good % of society still is. Natural law is the basis of enlightened society and humans.
I immediately clicked on this article because my boss is starting a podcast in the new year 🤣. It makes no sense to me given the nature of the work we do, what I see behind the scenes (in regards to basic competency) versus what is being advertised as the theme of this podcast.
I can see how they’d think it’d get them more clients… but in such a deceptive way? it’s not something I can get behind.
I’m on my way out and determined to make a living off my music writing and art instead of spending most my waking hours building someone else’s dream. TBH I think these ppl are just desperate to be the loudest “thought leader” voice and will do it by any means necessary. The very notion of a “thought leader” is insulting to humanity & Mach 10 grandiosity.
On the flipside, I too am very happy about the collective consensus of sheer exhaustion of the algorithm model for consumption of music and other art forms, especially as an artist.
I am all about a return to the analog world for reasons beyond art, I think dependence on tech / social media is destroying our ability to form & maintain relationships. We need to get back to Actual face time in real life before the connection crisis gets any worse. 🙏
Good for you! I gave a rather long reply to the DJ comment above, so I don't want to repeat myself here. The gist of it was that whether digital or analogue, they're tools (instruments) and it's what you do with them that matters. I do get your point. Digital technology has put the means into the hands of many and enabled people with little or no talent to produce facsimiles of ‘art’. However, ultimately it's the content that's important rather than the means by which it's produced. In that sense I don't think that analogue is inherently superior to digital or vice versa (although I would say that most of the musicians I know do favour analogue. Personally, I think that's down to a kind of conservatism and in some cases a snobbish attitude to anything ‘new-fangled’. I hasten to add that by no means am I accusing you of that, but, at the risk of repeating myself, how else do you explain those who, e.g., love Hammond organs but hate synthesisers?). There's always a novelty factor with new technology, but as with all fads, it'll wear off sooner or later. More than anything else it's the need to express themselves through art that distinguishes artists: after all, the arts aren't the easiest of careers and it's that need that makes us persevere through the hardships. Anyway, I wish you the very best of luck in all your artistic endeavours.
Thank you very much! And when I referenced “analog” vs digital, I was using analog to refer to “real life” as opposed to us always being on social media / apps etc. - I use technology in the creation of music all the time, shoot we wouldn’t have recordings of music at all without it! I think what really gets draining on so many of us is the trap of having to crank out and play the “content creation” game in social media algoritms in order to get your music seen / heard by anyone because that’s how the majority of ppl find anything these days. In my experience it has been a huge energy-suck and detriment to the creative process and just feels really.. toxic? I think social media in general feels that way but it adds a strange element that none of us really signed up for haha so it’s hard to find balance with it! Cheers to you and I hope you’re having a beautiful holiday season!
A little troubling that an actual musician conflates DJs with … ya know, actual musicians.
Are architects who use computers instead of drafting and drawing no longer worthy of the title? What happened to brokers with the advent of trading software? What about all those musicians who don’t write their own music? A computer used to be a person. Is it not now, amongst the myriad of meanings, an instrument?
Non sequiturs. Topic is music and musicians. But thanks for the comment.
You do know a lot of music “producers” are creators who also “DJ”?
DJs can be absolutely be virtuosic musicians. Ever heard of Q-bert? Jeff Mills? Claude Young Jr?
A computer is just another tool, it's what you do with it that counts. I'm a musician (OK, I'm a drummer, primarily (I also play flute, bass, guitar & keyboards in descending order of ability), so some may dispute that 😉) and my son, who started as a guitarist, is now primarily a DJ. No doubt I'm biased, but I really like his stuff and it is very definitely creative. I'm convinced that if Bach and Mozart had today's technology at their disposal they'd have been enthusiastic users of it. Is it that far removed from a composer imagining melodies and harmonies and scoring them for an orchestra to play (even if most composers play the piano)? I've been in bands that had a snobbish aversion to synthesisers but loved Hammond organs. Where do you draw the line? Electric guitars are a different instrument to acoustic: Jimi Hendrix would not have been the innovative genius without the former. Yello, a band I like very much, use a mixture of ‘real’ musicians and samples/sequencers. I used to play detractors of technology in music one of their songs and ask them to guess what was played and what was sequenced. Without fail they would say the drums were programmed, the acoustic guitar played, but it was the other way around! My uncle, who was a painter, once said to me “The only thing that matters about a work of art is whether it speaks to you or not.” My son may not play guitar anymore, but he puts just as much effort, if not more, into his mixes. There are some rather tragic reasons that put him off playing and he hasn't given it up completely. The point is that music is in his soul and he found another outlet. As a drummer I got into sound engineering and production – I was always the first to lay down my tracks, so hung around in studios a lot – and found them just as creative and fulfilling, if not quite as satisfying as the best gigs I've played. But that's my personal opinion and experience and, being just as honest, production and engineering have actually been more consistently satisfying; if things are going badly you can walk away and start again, at a bad gig you have to plough through to the end. Having said all that, I don't think anything will ever replace the visceral experience of performing and creating music with other musicians. It's the social element of people playing together that gives it an immediacy and makes it a unique experience, but in that it's similar to the difference between a recording and a live performance. Recordings of live performances are often disappointing and in the case of 10' solos, can even sound indulgent. They don't work because you're not there as part of that experience. I've always treated the two as quite distinct: in a recording you use the tools of a studio to best express what you're trying to get across. In a performance the audience is as much part of it as the performers, it's an experience beyond hearing or listening. The instruments aren't the important thing for either; pianos aren't the same as they were when much of the keyboard repertoire was written; the bass drum pedal was only invented in the early 20ᵗʰ century; synthesisers, reverbs, delays, compressors, limiters, noise gates, harmonizers (Harmonizer was actually a trade mark, so I should really call them pitch shifters) and the almost ubiquitous auto tune (which, I must admit, I find intensely irritating) are all relatively recent inventions and have, on the whole, enriched musical expression and possibilities (admittedly there's a fashion bandwagon for new technologies that leads to their being over used initially: autotuned vocals being the most recent example; in the 80s it was gated reverb drum sounds, although that was more of a new technique rather than a new technology). Occasionally there are cover versions that are significantly ‘better’ than the originals (although that's very rare and really a matter of taste. More often than not, the version heard first will be the best liked). Ultimately it's a matter of our creativity and expressiveness more than the means used to express them. They're the things that count.
"DJ Curation" ... Really !
So glad to read this about BN. Just found out the other day how long they’ve been around and was hoping they’d make it.
For years, the B &N by me was "Crucifyingly boring," and kinda bummed me out when I'd cut through it to get to other parts of the mall. I was in there not too long ago, and it honestly feels like a new store.
Also: I work for a fortune 100 company, and our CEO tends to see himself as a bit of a rockstar. We now have a podcast, and I'm pretty sure if you look up "cringe" in the dictionary, it's just a list of the episodes.
Related to the Whole Foods plastics-infused ribeye, would love to hear your take on the recent NYT revelation that the EPA has known about PFAS in sewage sludge for decades while allowing it to be shuttled to unsuspecting farmers all across the country. Is the entire America food chain on in an irreversible slide into death and disease?
What isn’t a scam? What hasn’t been tainted? That would be a wonderful New Year list.
Exactly my thought. Followed by wondering what business exists that isn’t possible to become a scam in some way? In the ancient world they had scams too, maybe just way more obvious ones. Scams will never die.
Barnes & Noble- from corporate enemy of writers and independent bookstores to savior against Amazon.
I don’t have a boss and I don’t think I’m launching a podcast (although I’ve been tempted).
I’ll comment a little more seriously on the “DJ as influencer” section and the claims made for it. Briefly as an old, very old DJ, I don’t really buy it. It strikes me as digital froth, a minute change in perspective with no real substance from observers looking for clicks. Sure, what is called DJ gear may be increasing in sales, although I personally think that much of this equipment is for what I call “file fiddling” not riding the groove with a stylus or even a laser. I said I was old.
Beyond that, the internet has been cluttered with DJs for what seems like forever. Just like bedroom musicians, bedroom DJs are not universally accomplished however many of them there are, although out of loyalty to the DJ tribe I might suggest that they have more to offer than the average lonely singer-songwriter, just a tiny little bit. However, as I’ve said elsewhere in the Spotify thread, the restricting issue is the time available to listen. None of us have over 24 hours in our days and there is a total flood of all sorts of cultural detritus zooming down our input tubes.
So, once again, essentially algorithms take over and suggest who you should listen to next.
In the real physical world, sure, groups of friends can get together with two turntables and a microphone and jam in the park or a hall or the living room as they have done for decades. But, and I hate to say this, it doesn’t scale. And in-group influencing concerning style is a pretty restrictive valve. So, I'm unconvinced about this changing any trends. Be lovely if I’m wrong.
I’ll add that regardless of what I write above I’m continually astounded at the vast number of 7” releases being pumped out in small runs these days. And the prices! Approximately $10, or £10 even, a piece plus shipping unless you have a very fine record shop in your town. You’ll also find some of this on Bandcamp as files - but then you’re not really DJing any longer, are you?
Anyway, if you want to hear a vast selection of music lovely arranged by those who often have real skills of both selection and mixing, you can’t really do better than surrender to the “algorhythms” of Mixcloud and, to a lesser extent, SoundCloud. No doubt there are others, but those are the two elephants in the room.
Also, I get where you’re coming from as someone with a deep history in the DJ world—it’s clear you’ve been part of this culture for a long time. But I think your perspective may miss some of the nuances of what’s happening in the current scene.
You describe the rise of DJ culture as “digital froth” or “file fiddling,” but that overlooks how this shift represents a broader transformation in music consumption and creation. Today’s DJs aren’t just spinning tracks; they’re curating entire experiences, often blending genres and cultures in ways that feel deeply personal and innovative. Yes, the tools are different—controllers and software may have replaced vinyl for many—but the artistry and intent remain. Technology is simply allowing a wider range of people to participate in the culture, and that’s not a bad thing.
You mention the flood of content and how algorithms dictate what we listen to—and sure, they play a role. But I’d argue that’s part of what’s fueling this movement. DJs today are breaking through algorithmic noise by offering something authentic that resonates. People are gravitating toward these creators because they’re tired of cookie-cutter playlists and mass-produced sounds. That’s why you’re seeing a resurgence of indie music, handpan frequencies, lofi, and genres like amapiano and house. These DJs are crafting narratives and vibes that connect on a human level, rising above the noise.
And while you suggest that in-group influencing is restrictive or unscalable, I’d say the opposite is true. The internet has made these communities global. A living room jam session can go viral and influence people on the other side of the world. This is why DJ culture is thriving—it’s no longer just about the music; it’s about creating and sharing a collective experience.
As for the tools, whether someone’s spinning vinyl, mixing on Mixcloud, or creating mashups with a MIDI controller, it’s all DJing. What matters is the creativity and connection it fosters. The small-run vinyl you mention is a testament to this: people are willing to spend on music they believe in because it feels genuine.
I agree with you on one thing—time is limited. But that’s why this shift matters so much. People are choosing music that elevates their mood, raises their energy, and offers something meaningful. DJs today are at the heart of that movement, and it’s why they’re becoming influential not just within the music world but across creative communities.
You don’t have to buy into it, but I think this shift is real, and it’s already changing the way we experience music. It’s not just a trend—it’s a response to the times we’re living in.
I completely agree with his take on the music culture phenomenon—it’s so evident everywhere. There’s been a noticeable rise in up-and-coming DJs, especially in Germany and across Europe, and it’s reflected in so many ways, even in something as simple as my YouTube algorithm. It feels like a movement within the creative community, and what makes it so refreshing is the music itself.
A lot of these DJs are mixing tracks that feature indie artists or even producing their own music, often collaborating with vocalists from both mainstream and underground scenes. It’s like people are collectively moving away from the repetitive, low-vibrational sounds that have dominated for so long. There’s this clear gravitation toward music that feels more meaningful—handpan music, meditation frequencies, lofi beats, and even jazz are becoming staples for many.
It’s as if this generation is more focused on uplifting their vibrations and cultivating positive energy. We’re seeing genres like amapiano, house, and African music gaining more traction on global charts, where rock, pop, and hip-hop used to dominate. It’s all about feel-good music now—music that connects on a deeper level, and I think that shift is such a beautiful reflection of where we’re heading.
Well, I certainly hope you’re right with the general points you make. I found what you have to say very interesting. Full disclosure: I’m being a little provocative with expressions like “file fiddling.” I own up to it! The techniques employed in DJing are not really the point as you observe correctly. The “DJ controller and associated software” train left the station long ago. Without me being on board. I thought about it, bought some bits and pieces, but I just go crosseyed looking at the screen. And I just think differently and have my own personal musical databank, which is mostly physically oriented and based. But, please note, I am no stranger to mp3s. I have an embarrassingly large number on my hard drives. 69,139 items adding up to 228.4 days! And a virtual ton of unopened zips and rars. Yes, time available is the limiting factor, although there are duplicates in those numbers and among my groaning shelves and crates.
My general point is not so much about the excitement of the scene, which for what it’s worth has been trundling along for some time in the little neck of the internet woods that I spend time in. Even a dinosaur like me has some mixes up and follows a few interesting DJs! Perhaps there’s been, or there currently is, an uptick in stylistic freedoms and feel of the music. Which would certainly be nice and I would, of course, approve of it. What I’m saying is that as soon as you’re engaged with the likes of Mixcloud and SoundCloud you’re subject to algorithms. Nothing necessarily wrong with that, some algorithms work well, but to claim that you’re in some purely analog real-world space is just not going to work as a convincing argument with me. Both SoundCloud and Mixcloud attempt to keep you on their sites with recommendations, autoplay, etc.
As someone who’s been deeply involved with African and reggae and “world” music for over forty years, I am thrilled that the west is once more opening up to sounds from other parts of the world. I have a reservation or two. Back in the day we were afflicted with a thing called “rockism,” which I expect you’ll understand the meaning of without explanation. Anyway, what we were interested in all that time ago was bringing the musical cultures of the rest of the world to Europe and northern America. It turned out that there was a lot of complexity and internal debate about how to do this. Eventually, I believe we were moderately successful, although some thought it was all something of a squalid ripoff of other cultures. In the time since we’ve had some waxing and waning, but I’ve noticed what you talked about with amapiano and Afrobeats, which are not to be confused with Fela Kuti’s afrobeat. My reservation is that to some extent this new mostly electronic music from Africa and other cultural hot spots tends to be very influenced by Euro and US styles. Sure, it has an African flavour and music mutates all the time, especially African music, but I feel that some of its distinctive historic qualities have been diluted. The other side of the coin is that we are actually creating a global culture. We’ll see.
Thanks again for your input. I’ll keep thinking about it.
PS old DJs never die. They just . . . spin away, fade out, segue, mix it up. Hopefully, they never crash the beat.
Just a few notes on podcasts. Disclaimer: I have worked in podcasting since 2014 and founded a podcast agency in 2019.
First, David Pierce is inaccurate when he says, "There’s something strange happening these days in the podcast world..." The fact is that companies have been using podcasts for thought leadership, marketing, and networking for over a decade. I suspect Pierce's observation results from heightened attention on the medium in recent months.
To call these uses of podcasting "grifts" is extremely unfair and myopic. As with any medium, there are plenty of businesses that use podcasting dishonestly, but the majority use podcasts in perfectly reasonable, honest ways.
For example, Mattress Firm produced two podcasts about sleep in 2022 ("Are Your Sleeping" and "Chasing Sleep") that are entertaining, informative, and valuable to listeners. They aren't "infomercials" and don't talk about the company or its products at all, but the shows did help the company's bottom line, resulting in a 45% increase in sales (https://www.insideradio.com/free/the-power-of-podcasts-study-credits-podcast-for-45-lift-to-mattress-firm-s-in/article_e465865a-380c-11ee-8f7b-cf17add82512.html).
Ted, can you explain what is wrong with that?
Second, the Bloomberg bit about "Your next podcast might be a meeting in disguise" is not at all "new." This podcasting use case is actually older than the corporate podcast. In fact, there are multiple podcast agencies in the U.S.A. whose entire business model is to create these types of podcasts for businesses.
However, I agree with Ted on this one. My company does not do this, and we have repeatedly turned down potential clients who ask us to. It really is grift.
In my professional opinion, the only valid reason to make a podcast is to provide valuable content to a specific audience. If you ask someone to be a guest on your podcast, it should be because your audience will benefit from their perspectives or expertise.
I can't tell you how many podcasters I've met who don't have an audience, don't care about growing an audience, and only use their podcast as a way to reach people who otherwise wouldn't give them the time of day.
The last point I'll make is that podcasting is NOT "alternative media." The most recent data indicates 53% of Americans over 18 have listened to a podcast in the last month and that the 18-35 demographic is more likely to listen to podcasts than listen to terrestrial radio or watch cable TV.
So, while there are bad actors in podcasting (as in any medium), pooh-poohing corporate podcasting is unfair. But if someone asks you to be a guest on their podcast, ask them how many listeners they have and what their audience development budget is before you say yes.
We have 3 B&Ns in town that I rarely frequent, because they are just ’McBook’ stores. I’ll have to visit one and see if it has really changed.
A solid roundup of good stories. Thank you.