Obviously, we talk about streaming a lot on this show. It is, after all, the 3,000-pound gorilla determining the basic political economy of the contemporary music industry. But all too often we—and let’s face it, pretty much everyone else in the Anglo media-sphere—are actually talking about a handful of geographically focused companies, rather than a truly global ecosystem. You know the ones, and you know the places. But what does streaming look like outside the U.S./Western Europe—or beyond Spotify? To learn more, we talked with Ryan Blakeley, a Visiting Assistant Professor at Northeastern University, whose research focuses on a wide variety of locally-oriented streaming services, from state-affiliated systems in Greenland to fast-growing (Chinese-backed?) African startups. He also digs into the business infrastructure that makes such services possible, shedding light onto the firms that connect local companies to global rights-holders—and in doing so, pull them into the structural logic of the streaming industry. Come for a discussion of how streaming works in the Middle East. Stay for the ways in which nationally-organized streaming could remake the artistic economy. Get full access to Money 4 Nothing at <a href="https://money4nothing.substack.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4">money4nothing.substack.com/subscribe</a>

Obviously, we talk about streaming a lot on this show. It is, after all, the 3,000-pound gorilla determining the basic political economy of the contemporary music industry. But all too often we—and let’s face it, pretty much everyone else in the Anglo media-sphere—are actually talking about a handful of geographically focused companies, rather than a truly global ecosystem. You know the ones, and you know the places. But what does streaming look like outside the U.S./Western Europe—or beyond Spotify? To learn more, we talked with Ryan Blakeley, a Visiting Assistant Professor at Northeastern University, whose research focuses on a wide variety of locally-oriented streaming services, from state-affiliated systems in Greenland to fast-growing (Chinese-backed?) African startups. He also digs into the business infrastructure that makes such services possible, shedding light onto the firms that connect local companies to global rights-holders—and in doing so, pull them into the structural logic of the streaming industry. Come for a discussion of how streaming works in the Middle East. Stay for the ways in which nationally-organized streaming could remake the artistic economy. Get full access to Money 4 Nothing at money4nothing.substack.com/subscribe

Obviously, we talk about streaming a lot on this show. It is, after all, the 3,000-pound gorilla determining the basic political economy of the contemporary music industry. But all too often we—and let’s face it, pretty much everyone else in the Anglo media-sphere—are actually talking about a handful of geographically focused companies, rather than a truly global ecosystem. You know the ones, and you know the places. But what does streaming look like outside the U.S./Western Europe—or beyond Spotify? To learn more, we talked with Ryan Blakeley, a Visiting Assistant Professor at Northeastern University, whose research focuses on a wide variety of locally-oriented streaming services, from state-affiliated systems in Greenland to fast-growing (Chinese-backed?) African startups. He also digs into the business infrastructure that makes such services possible, shedding light onto the firms that connect local companies to global rights-holders—and in doing so, pull them into the structural logic of the streaming industry. Come for a discussion of how streaming works in the Middle East. Stay for the ways in which nationally-organized streaming could remake the artistic economy. Get full access to Money 4 Nothing at <a href="https://money4nothing.substack.com/subscribe?utm_medium=podcast&amp;utm_campaign=CTA_4" rel="noopener noreferrer">money4nothing.substack.com/subscribe</a>

Global Music Streaming with Ryan Blakeley

Looking at the current state of the Billboard charts, it seems like reports of Drake’s demise at the hands of Kendrick Lamar may have been a bit premature. Storming out of whatever supervillain ice-cave lair he’s been inhabiting, Drake dropped THREE new albums into the top three slots of the charts, reminding the world that he remains the most successful rapper of the streaming era. But what does it mean to be this type of industry anchor in 2026? How has superstardom changed since Drake first grabbed the commercial crown? We talk lawsuits, record contracts, wallpaper music, playlist manipulation, and digital casinos—all on the trail of an artist who is still, somehow, too big to fail. That same logic did not help Ticketmaster/Live Nation—the live music mega-corporation that, despite the chicanery, despite the current administration, despite the track record, managed to LOSE a major monopoly trial through the sheer unmitigated volume and pungency of its bad behavior. And yes, while you did already know Ticketmaster was rotten, unless you’ve dug through the court filings, you really have NO idea how much anti-consumer sleaze you can fit in one company. Don’t worry—we go through it. With freakin’ PLEASURE. Beyond the general schadenfreude and kvelling, we also try to imagine what might come out of this…actual good thing that occurred? Honestly, we were caught a bit off-guard, because nothing like this has really occurred since we started the show. Maybe…things could…get better? Weird for us as it is for you. Get full access to Money 4 Nothing at <a href="https://money4nothing.substack.com/subscribe?utm_medium=podcast&utm_campaign=CTA_4">money4nothing.substack.com/subscribe</a>

Looking at the current state of the Billboard charts, it seems like reports of Drake’s demise at the hands of Kendrick Lamar may have been a bit premature. Storming out of whatever supervillain ice-cave lair he’s been inhabiting, Drake dropped THREE new albums into the top three slots of the charts, reminding the world that he remains the most successful rapper of the streaming era. But what does it mean to be this type of industry anchor in 2026? How has superstardom changed since Drake first grabbed the commercial crown? We talk lawsuits, record contracts, wallpaper music, playlist manipulation, and digital casinos—all on the trail of an artist who is still, somehow, too big to fail. That same logic did not help Ticketmaster/Live Nation—the live music mega-corporation that, despite the chicanery, despite the current administration, despite the track record, managed to LOSE a major monopoly trial through the sheer unmitigated volume and pungency of its bad behavior. And yes, while you did already know Ticketmaster was rotten, unless you’ve dug through the court filings, you really have NO idea how much anti-consumer sleaze you can fit in one company. Don’t worry—we go through it. With freakin’ PLEASURE. Beyond the general schadenfreude and kvelling, we also try to imagine what might come out of this…actual good thing that occurred? Honestly, we were caught a bit off-guard, because nothing like this has really occurred since we started the show. Maybe…things could…get better? Weird for us as it is for you. Get full access to Money 4 Nothing at money4nothing.substack.com/subscribe

Looking at the current state of the Billboard charts, it seems like reports of Drake’s demise at the hands of Kendrick Lamar may have been a bit premature. Storming out of whatever supervillain ice-cave lair he’s been inhabiting, Drake dropped THREE new albums into the top three slots of the charts, reminding the world that he remains the most successful rapper of the streaming era. But what does it mean to be this type of industry anchor in 2026? How has superstardom changed since Drake first grabbed the commercial crown? We talk lawsuits, record contracts, wallpaper music, playlist manipulation, and digital casinos—all on the trail of an artist who is still, somehow, too big to fail. That same logic did not help Ticketmaster/Live Nation—the live music mega-corporation that, despite the chicanery, despite the current administration, despite the track record, managed to LOSE a major monopoly trial through the sheer unmitigated volume and pungency of its bad behavior. And yes, while you did already know Ticketmaster was rotten, unless you’ve dug through the court filings, you really have NO idea how much anti-consumer sleaze you can fit in one company. Don’t worry—we go through it. With freakin’ PLEASURE. Beyond the general schadenfreude and kvelling, we also try to imagine what might come out of this…actual good thing that occurred? Honestly, we were caught a bit off-guard, because nothing like this has really occurred since we started the show. Maybe…things could…get better? Weird for us as it is for you. Get full access to Money 4 Nothing at <a href="https://money4nothing.substack.com/subscribe?utm_medium=podcast&amp;utm_campaign=CTA_4" rel="noopener noreferrer">money4nothing.substack.com/subscribe</a>

Drake Stream Gaming + LiveNation Are AntiTrust LOSERS

On the second episode of Money 4 Nothing, a podcast about music and capitalism, hosts Sam Backer and Saxon Baird discuss the financial impact of the Covid-19 pandemic on live music and the forces behind the music industry's shift towards live performances and musical experiences. Plus, Travis Scott on Fortnite, jam bands ahead of the streaming curve, Saudi Arabia buying into Live Nation, Post Malone doing Nirvana and how much watching a concert online sucks when there are no live shows.

On the second episode of Money 4 Nothing, a podcast about music and capitalism, hosts Sam Backer and Saxon Baird discuss the financial impact of the Covid-19 pandemic on live music and the forces behind the music industry's shift towards live performances and musical experiences. Plus, Travis Scott on Fortnite, jam bands ahead of the streaming curve, Saudi Arabia buying into Live Nation, Post Malone doing Nirvana and how much watching a concert online sucks when there are no live shows.

On the second episode of Money 4 Nothing, a podcast about music and capitalism, hosts Sam Backer and Saxon Baird discuss the financial impact of the Covid-19 pandemic on live music and the forces behind the music industry's shift towards live performances and musical experiences. Plus, Travis Scott on Fortnite, jam bands ahead of the streaming curve, Saudi Arabia buying into Live Nation, Post Malone doing Nirvana and how much watching a concert online sucks when there are no live shows.&nbsp;&nbsp;

Live Music in Quarantine

On the inaugural episode of Money 4 Nothing, a podcast about music and capitalism, Sam Backer and Saxon Baird delve into the critical praise of Fiona Apple's 'Fetch the Bolt Cutters' and the mechanisms behind numerical ratings, Pitchfork, and the role of music criticism today.

On the inaugural episode of Money 4 Nothing, a podcast about music and capitalism, Sam Backer and Saxon Baird delve into the critical praise of Fiona Apple's 'Fetch the Bolt Cutters' and the mechanisms behind numerical ratings, Pitchfork, and the role of music criticism today.

Fiona Apple, Pitchfork, and What is a 10?

A podcast on music and capitalism. Dropped bi-weekly. <a href="https://money4nothing.substack.com?utm_medium=podcast">money4nothing.substack.com</a>

Music

History

Music Commentary

A podcast on music and capitalism. Dropped bi-weekly. money4nothing.substack.com

A podcast on music and capitalism. Dropped bi-weekly. <a href="https://money4nothing.substack.com?utm_medium=podcast" rel="noopener noreferrer">money4nothing.substack.com</a>

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