Seth Fiegerman’s history of Pinterest and their approach to business and product is a breath of fresh air. In The anti-Facebook: Inside Pinterest’s slow and quiet rise, Fiegerman describes a company whose motto might as well be “move slow and debate things”:

Pinterest resisted throwing money at its problems, debated product tweaks extensively and did not rush to copy features that helped larger competitors achieve viral growth, employees said. Fond of touting itself as an anti-social media platform, Pinterest never introduced live-streaming or standalone messaging apps, nor did it become a primary hub for news. These features attracted press and users for other companies, but were also later abused by bad actors.

That is such a good example of a company that knows how important focus is. Their approach reminds me of Richard Rumelt’s succinct summary in Good Strategy, Bad Strategy:

Good strategy works by focusing energy and resources on one, or a very few, pivotal objectives whose accomplishment will lead to a cascade of favorable outcomes.

Liz Pelly’s Streambait Pop is a fascinating look at the “Spotify sound” and other changes in pop music brought about by streaming:

The Spotify sound has a few different variations, but essentially it’s a formula. “It has this soft, emo-y, cutesy thing to it,” Matt says. “These days it’s often really minimal and based around just a few simple elements in verses. Often a snap in the verses. And then the choruses sometimes employ vocal samples. It’s usually kind of emo in lyrical nature.” Then there’s also a more electronic, DJ-oriented variation, which is “based around a drop … It’s usually a chilled-out verse with a kind of coo-y vocal. And then it builds up and there’s a drop built around a melody that’s played with a vocal sample.”

The really interesting part to me is how it’s a sound that’s essentially designed to make you forget about it, so that you just keep streaming endlessly:

The chill-hits Spotify sound is a product of playlist logic requiring that one song flows seamlessly into the next, a formula that guarantees a greater number of passive streams. It’s music without much risk—it won’t make you change your mind. At times, these whispery, smaller sounds even recall aspects of ASMR, with its performed intimacy and soothing voices. When everyone wants your attention, it makes sense to find reprieve in stuff that requires very little of it, or that might massage your brain a bit.

After I read this article I went through my Spotify playlists and counted how many of them had the word “chill” in it. Let’s just say I’m too embarrassed to tell you…

But moving on, I think this “inoffensiveness” in music is one of the reasons I’ve started to listen to so many more genres over the past few years. I now like music that feels like it just doesn’t quite sit right. Any artist or band that combines a little discomfort with a lot of skill has my attention. Just one recent example that comes to mind is Double Negative by Low. I still don’t really know what it is. But I know it’s something really special.

In Filling the Silence with Digital Noise, Kate Moran and Kim Flaherty share some research-based findings on how people use digital background noise to make sure it’s never quiet around them:

While many participants reported feeling the need to have some sort of audio in the background during their silent moments, others reported a more intense version of this phenomenon: the need to fill all the empty moments in their lives with some activity to avoid boredom or downtime. This behavior fills the ‘silence’ in a figurative way — people use their devices to keep their minds constantly occupied.

I read this article with interest, because I also do this—albeit for a different reason. I have a condition called tinnitus, which is a consistent ringing in the ears. There is no cure for it—the only way to deal with it is to learn to manage and be ok with it. For those of us who suffer from tinnitus, silence is torture. Because there is no silence. Your only choices are (1) the sounds/noises you put on around you, or (2) a loud ringing in your head that comes from nowhere and everywhere and never goes away.

Guess which option we usually go for…

Ok this is creepy:

Over the past few years, Spotify has been ramping up its data analytic capabilities in a bid to help marketers target consumers with adverts tailored to the mood they’re in. They deduce this from the sort of music you’re listening to, coupled with where and when you’re listening to it, along with third-party data that might be available.

And they’re not alone:

Spotify is far from the only platform helping brands target people according to their emotions; real-time mood-based marketing is a growing trend and one we all ought to be cognizant of. In 2016, eBay launched a mood marketing tool, for example. And last year, Facebook told advertisers that it could identify when teenagers felt “insecure” and “worthless” or needed “a confidence boost”.

Nicholas Carr discusses the importance of using the right terminology when we talk about how companies use our data in his essay I am a data factory (and so are you). On the problems with the “data mining” metaphor:

Data does not lie passively within me, like a seam of ore, waiting to be extracted. Rather, I actively produce data through the actions I take over the course of a day. When I drive or walk from one place to another, I produce locational data. When I buy something, I produce purchase data. When I text with someone, I produce affiliation data. When I read or watch something online, I produce preference data. When I upload a photo, I produce not only behavioral data but data that is itself a product. I am, in other words, much more like a data factory than a data mine. I produce data through my labor — the labor of my mind, the labor of my body.

On extending the “data factory” metaphor to the platform companies:

The platform companies, in turn, act more like factory owners and managers than like the owners of oil wells or copper mines. Beyond control of my data, the companies seek control of my actions, which to them are production processes, in order to optimize the efficiency, quality, and value of my data output (and, on the demand side of the platform, my data consumption). They want to script and regulate the work of my factory — i.e., my life — as Frederick Winslow Taylor sought to script and regulate the labor of factory workers at the turn of the last century. The control wielded by these companies, in other words, is not just that of ownership but also that of command. And they exercise this command through the design of their software, which increasingly forms the medium of everything we all do during our waking hours.

The factory metaphor makes clear what the mining metaphor obscures: We work for the Facebooks and Googles of the world, and the work we do is increasingly indistinguishable from the lives we lead. The questions we need to grapple with are political and economic, to be sure. But they are also personal, ethical, and philosophical.

This brings up a point I haven’t given much thought to. It’s not just that platforms use the data we create to further their business interests. It’s that they are also invested in having us create a very specific kind of data. Data that can be as useful as possible to advertisers. That changes our behavior and gives rise to the prevailing wisdom that people are not being authentic on social media.

I continue to be fascinated by Instagram’s cultural and economic impact. Taylor Lorenz writes in Posting Instagram Sponsored Content Is the New Summer Job:

Helen Boogzel, CEO of Boogzel Apparel, said her company receives a steady stream of messages from young people — almost universally girls — looking to make extra money, and that teen marketing has been critical to the young company’s growth. “Some companies buy positive reviews or try to get into fashion magazines,” she said. “That’s fake and it kills your brand. It’s better to work with teenagers directly and know their honest opinion about your brand. Our clothes are inspired by culture and the internet. Young people create this culture.”

They also, crucially, don’t charge much: Depending on the teen’s audience and experience, most shops typically pay $5 to $20 for a post.

“Teenagers are more affordable to work with because of their follower count and age,” said Christy Oh, an 18-year-old who handles marketing for DouxLashes, which sells fake eyelashes. “They’re not doing insta as a full time thing, they’re just trying to make extra money, so it’s not super expensive to partner with them.”

Here are a few other interesting articles about Instagram’s impact and… bizarreness:

• How Instagram Became the Art World’s Obsession
• Teens Debate Big Issues on Instagram Flop Accounts
• The Strange Brands in Your Instagram Feed
• Fake it till you make it: meet the wolves of Instagram