HeyJaredMUSIC x
Regular insights about the future of music, media & tech. A strategic writer collective led by Maarten Walraven
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- Indexed issues, last 90 days
- 9
- Latest publication
- Sep 24, 2026
- Audience
- Checking…
- Earliest in this view
- Jul 9, 2026
Latest issues
✘ Teach the song its name (opens the original)
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Imagine a song walking into a room and shaking hands and introducing herself to everyone who wants to license it. Its rights information, ownership history, and sonic characteristics all communicated clearly. What’s more, all the rightsholders are identified and each data point is traceable to its origin. Songs haven’t been able to do this for decades, they basically don’t know their own name. If you read this newsletter, you know about Deezer’s reporting on fully AI-generated track uploads and
✘ Objects we keep, listening we choose (opens the original)
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For years now, we keep hearing that physical is back. Vinyl sales are up, CD sales are up, major artists capitalize on this by creating versions and thus further push up physical sales. But, as Eamonn Forde argued in 2024, all this is true and it needs to be placed in perspective. His argu
✘ The false choice: How to stop fearing AI and start listening to the body (opens the original)
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In the summer of 1955 a small group of men gathered at Dartmouth to plan a workshop, and along the way they gave their field a name: artificial intelligence. The intelligence they had in mind was rule-based. Basically, write down the explicit rules of human thought and hand them to a computer, in roughly the way grammar tries to write down the rules of a language. This idea collapsed in the 1970s, starting a stretch now remembered as the AI winter, once it became clear that a language is not hel
✘ How does it feel? (opens the original)
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Churches are sonic places providing space and meaning across much of the world. Art historian Niall Atkinson, for example, has examined where church bells stood in Renaissance Florence and when they were sounded in relation to each other to recompose the way that the sacred and profane transgressed each other’s boundaries. This engages questions of how people listen and create meaning from there. At age four, Tawiah found her voice in a Pentecostal church in Battersea. At the time, she didn’t co
✘ From catalogue to capacity - The majors never fought the future, they licensed it (opens the original)
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In 1906 the composer John Philip Sousa went to the United States Congress to warn them about a machine. The threat was the player piano, and Sousa did not hide his hatred for it. He foresaw“a marked deterioration in American music and musical taste, an interruption in the musical development of the country, and a host of other injuries to music in its artistic manifestations, by virtue, or rather by vice, of the multiplication of the various music-reproduci
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