It reflects a world in which Rihanna’s Instagram following and intimate online relationship with fans are more valuable than the architectural construction of a hit single or a radio banger. This is one way to look at “Anti” - as the product of an imploding music industry, where the content of an album might have little bearing on an artist’s ability to make money, sell out stadiums or maintain relevance.
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Whatever the business plan, selling records for cash does not seem especially central. Or perhaps she’s adequately cushioned by a lucrative $25 million deal with Samsung, which is using her album as a promotional tool in its tense and ongoing competition with Apple over the smartphone market. Maybe she’s planning to make up the difference on her coming 67-stop world tour (announced, to strong sales, before “Anti” arrived).
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She tweeted a link for a free download not long after the album appeared, last week, on the “artist-owned” streaming service Tidal. In his review of “Anti” for The New York Times, Jon Caramanica wrote that “at this stage of her career, music may be the least essential brick in her house” - and indeed, Rihanna seems completely unconcerned with the monetary returns of the album’s sales and streams. (This was a big move and a symbol of independence - perhaps the first such moment in the singer’s already-storied career.) In October, she acquired the masters of her previous albums from Def Jam. Last year, after parting ways with her longtime label, Def Jam, to work with Roc Nation, Rihanna took the reins of a newly created imprint of her own, called Westbury Road Entertainment.
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Amanda Petrusich, writing for Pitchfork, cautioned listeners that they might be “underwhelmed.” It was three years in the making, and then, with little to no warning, “Anti” was released into the world.Įxpectations were sky high, and the first reviewers were, maybe inevitably, disappointed: They described the album as uneven, scattered and sloppy. It seemed she was brewing something big for her eighth album, something more majestic and monumental than we’d seen before. The lead-up to “Anti” was different: After releasing hit music on a tight, predictable schedule, Rihanna suddenly stopped. Her success doubled, then tripled and quadrupled the assembly-line model turned her into a perfectly produced product, ready for consumption.
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For as long as she has been a star, Rihanna’s career has functioned as a perfectly oiled pop machine: Her first record dropped in 2005, when she was 17, and she has churned out a new album each subsequent year for the entire decade since, collecting multiplatinum sales, eight Grammys and 24 nominations in the process. 1 on Billboard’s album charts), is unlike any of the records that preceded it. BitTorrent is what makes these files move smoothly over the Internet without creating traffic jams.As its name suggests, “Anti,” the new studio album from pop singer Rihanna (and this week’s No. And they haven’t even started to roll out 4K video, but it’s coming. And if you take photos and vids as often as I do, then multiply that by the millions of people with such a smartphone – that’s a hell of alot data clogging up the Internet. In the past few years alone creating HD video and hi-resolution photos on your smartphone has become possible. When the Internet was created, no one envisioned the size and volume of the data that would travel across it each day. It was invented in 2001 by our founder and chief scientist, Bram Cohen as a replacement for HTTP the protocol that moves Internet traffic. So here it is in plain language: BitTorrent is an Internet protocol a way of doing things online that makes the web more efficient. There’s a lot of confusion about what BitTorrent is, and what it does. OKP: First off, what is BitTorrent and why do people need to know about it?īT:That’s a great question. Fairly soon, the idea and creativity behind it will be the only limitation. Motion pictures are well into that cycle now. Its now in everyone’s hands and its more about what you can do rather than gaining access to a facility to do it in.
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We don’t have that fear. The process of technology affecting how music is made and sold is almost complete. For many established people in the music business there is a fear that comes along with it. GW: We’ve supported it from the beginning, we believe in it, direct connecting, faster access to music, making things available. OKP: What has been the impact on technology on the relationship between artists and fans?