Clemens Bewer (German, 1820 – 1884), Muse with a Lyre (also known as Erato, Muse of Love Poetry) (1867)

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Don't Feed the Ducks

Don’t Feed the Ducks! A Zany Animation Predicts the Absurd Outcomes of Ignoring the Rules (Vimeo)

How many people actually heed the warnings about not feeding ducks waddling around public parks? If you’ve taken a flippant approach to these guidelines in the past, we recommend you watch AJ Jeffries’ new animation, “DUCKS.” What opens as an innocuous jaunt around a pond quickly turns into a dark comedy full of strange contortions and feathered villains sure to pop into your head the next time you throw a chunk of bread.

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Bakufu Ohno, Herring, from Familiar Fishes of Nippon, 1937

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Jumping Jacks For Clicks

There’s been a lot of discussion this month about what it takes to be heard as a musician in 2026. Eliza McLamb’s article on digital marketing agency Chaotic Good went viral, drawing commentary from musicians about the wider implications of their “fake fans” marketing strategy. Hiroki Tanaka’s Reddit post about his album’s failed PR campaign was picked up by Stereogum, stimulating further debate. We’re about to embark on our own DIY PR campaign for our forthcoming album and it’s hard to know what, if anything, will make anyone actually listen to it. The PR landscape for musicians has changed radically in recent years, how should artists approach music marketing in 2026?

Fandom as contagion

When Eliza McLamb heard this interview with the founders of Chaotic Good Projects on Billboard, she was shocked to discover that an artist and track she thought was her own “perfect, beautiful little secret” actually came from them as a part of a “narrative campaign”.

“I thought this was the kind of thing that was only deployed in service of mass-market, commercial pop... But [Chaotic Good’s] roster runs deep, far past the predictable internet sensations one could expect... Geese and Cameron Winter, but also Dijon and Mk.gee. Laufey and Wet Leg. Oklou and Jane Remover.”

Chaotic Good works by, in their own words, “controlling the discourse”.

“I think in the past, let’s say like a label and a management team do a great job. They get their artists on SNL or Tiny Desk or Triple J or something like that. Then they post it and then they kind of wait for the comments […] what we do at Chaotic and with our management clients is, the second SNL drops at midnight, you should post a hundred times saying that was the best performance of the year.”

Chaotic Good doesn’t just share content, it creates accounts to respond to that content and simulate trends, which will ideally snowball into real, organic users jumping on the trend and amplifying it. They’re simulating until the simulation becomes real.

It’s different from the traditional method of “the waterfall” release and media saturation. Share music incrementally over a long period of time through as many channels as possible, get articles written, pay for plays, do tours, be omnipresent. But people aren’t using traditional media to find music anymore, they use social media. And they don’t even watch the content themselves, they read the comments to gauge the value of something. Chaotic Good point this out in their interview:

“I think most people see a video or see something about an album that came out and it’s like the first thing that they see or that first comment that they see is their opinion even when they haven’t heard the whole album.”

In behavioural psychology this is known as social proof. Part of what made Eliza McLamb’s article go viral is the way it exposes how our behaviour is manipulated by the marketing machine. We know about propaganda but for some reason assume social media is immune to this kind of manipulation. We think we’re interacting with real people online, people we subconsciously infer guidance from, but we’re not. Much of what we see has been infiltrated by external agents to shape a particular opinion.

However, the underlying issue is not just the fact that the opinions we thought were our own have been subtly shaped by an expensive machine, it’s that if artists today can’t afford to pay for that expensive machine, no one will hear their music.

The False Promise Of The Social Media Democracy

Once upon a time there was a social media platform called MySpace. It gave everyone their own web page connected to other MySpace users. They could customize it to look however they wanted, people could comment, and send messages to each other. There were no ads. There was no algorithm. Just the free flow of information.

Many bands in the ‘00s blew up because of MySpace. Arctic Monkeys, Lily Allen, Calvin Harris, to name a few. Our very own Chris Black’s previous band Katsen landed record deals through MySpace. The early days of social media are responsible for the persistent myth of going viral then making lots of money. The two halves of that equation have never been more disconnected.

MySpace succumbed to algorithm-driven platforms and the gatekeeping emerged again, this time with the tech titans controlling the interactions between musicians and fans. I remember discovering for the first time that even though we had a few hundred followers on Facebook, they wouldn’t see our posts unless we paid to “boost” them. That was just the beginning.

As the algorithms evolved, the content that rose to the top was not just the most liked and shared but the most consistently and frequently posted. To be seen on social media one has to spend hours, daily, posting and engaging in other people’s content. Most artists don’t want that job and moreover, don’t have the capacity. Kamola Atajanova of Tape Wounds articulates it perfectly in their response to the Chaotic Good furore:

“Not every artist is built for social media. Not every artist wants to make their life into a performance. Some people are better at writing songs than posting clips. Some people’s work comes from privacy, patience, or introspection. That should not make them less valid. But this system does make them less visible. It filters them out before the music even has a chance. So when people say “it’s just marketing,” what they really mean is: this is the cost of entry now. And that’s exactly what makes it feel so hostile. Not everyone can afford that cost. Not financially, not creatively, not psychologically.”

Hiroki Tanaka’s candid Reddit post about the failure of his “by the book” album PR campaign sparked a wave of recognition across the music world. After two decades in music and awards with his previous band he decided to release his solo album, his “last hurrah”, with management, a label, and a professional PR campaign. He even started a TikTok account posting show videos, behind the scenes and goofy memes all around managing a job and family life.

Tanaka watched the release arrive after eight months of promotion to little more than “a weak trickle” of attention. For most musicians, Tanaka’s story didn’t feel exceptional, it felt familiar.

“I was told, under no uncertain terms, that my lack of a social media presence and streaming metrics meant that certain media outlets that had reviewed my work (highly, I might add) in the past could no longer spend money on paying a writer and editor to review my work… I would have preferred if they had said they didn’t like my album. Being rejected because of my metrics is a slap in the face for art.”

Social media has become the driving force behind a release, and while it is accessible to anyone, there’s actually a huge price to pay in both time and mental health. The volume of content required to feed it is beyond most musicians, who are generally holding down full time jobs to survive. The underlying purpose of all this extra content is to feed a machine, and it doesn’t feel good dedicating your precious little free time to feeding a machine.

Jumping Jacks For Clicks

Soon after reading Tanaka’s post, we got an email from YouTube Creators prompting us to “Get Creative With Goals” on our livestreams.

They’re encouraging us to “set goals that encourage your community to collaborate,” and suggest celebrating those goals by “doing something unexpected – whether that’s jumping jacks, making up a song, or playing a prank.”

Yes, you read that correctly. YouTube is telling artists that the path to success involves performing arbitrary physical tasks to generate engagement.

It’s sad how often life imitates an episode of Black Mirror these days but this is almost exactly the scenario in season seven’s episode “Common People”. A man who needs money for an enshittified service ends up performing increasingly degrading stunts on a streaming platform for money. What was meant as dystopian satire has become platform policy. [...]

What Comes Next?

We may be reaching an inflection point. As McLamb notes, the more ubiquitous manufactured virality becomes, the more artists will resist it entirely, pulling back from streaming and social media in favour of hyper-local, scene-based growth. A return to the tangible, the real, the unmediated.

While this sounds good in theory, it’s probably not going to work for unusual artists in small towns. They’d have to go to a city to have more of a chance of finding their people, and with the cost of living, moving to a city isn’t possible for everyone. By the time I left London in 2009 all the artists I knew were leaving, it just wasn’t sustainable anymore.

The problem is systemic. Musicians don’t typically make a living from their music. This means their time is diverted to day jobs. Their dwindling leisure time is necessary for making and performing music. There isn’t time to also produce a volume of “content” for social media. On top of that the mental health cost of interacting with addictive apps as a performing monkey is not appetising. This creates a class system in the music industry. There are those who can afford to pay to be heard and those who can’t. And those who can’t are either paying with their souls, or they’re opting out altogether and not being heard at all.

by Battery Operated Orchestra and Brigitte Rose, Bandmade |  Read more:

Images: uncredited/YouTube 

[ed. Works for some, not for others. Which, I guess is the point. The algorithm is selecting for a certain type of musician - not necessarily the best. That YouTube email really says everything you need to know about their business model, doesn't it?]

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Antonia Tyz Peeples, Reflective Day, Morning Star

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Otama-Shimai

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François Rude (French, 1784 – 1855). Mercure remet ses talonnières pour remonter dans l'Olympe (Mercury Fastening his Heel-Wings Preparing to Fly back to Olympus Mount), (Detail), (1834).
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Japanese Woodblock Print Search

“Evening Cool on Sumida” by Kobayashi Eijiro; “Colonel Sato, Sino-Japanese War” by Taguchi Beisaku; “Arakawa River in May Rain” by Kawase Hasui

Behold the “Japanese Woodblock Print Search”, which does precisely what the name suggests: Type in a search string, and it’ll look through 223,891 prints to find ones that match.

I searched for “river” and got those three lovely prints you see above!

The project has been run since 2012 by the coder and woodblock-enthusiastic John Resig (also the creator of Jquery). As Jessica Stewart writes on MyModernMet, the search engine…

… collates collections from 24 museums, libraries, auction houses, and art dealers around the world. By uniting the individual collections, there are several interesting features that make Ukiyo-e.org a top destination for anyone interested in Japanese printmaking. Aside from the ability to search by institution, artist, and time period, you can also upload an image to see if there are any similar prints in the database. And, once you click on an entry, similar prints in the archive also appear, allowing you to click through and see the differences in color and quality.

BTW, quite a lot of those prints are in the public domain.

via: LF Linkfest

Painted Rocks

Elizabeth Saloka’s Vibrant Painted Rocks Adopt the Personalities of Snacks and Pop Culture Icons (Colossal)

While most of us will pass by stray stones and piles of rubble without much of a second thought, Elizabeth Saloka sees tons of potential. From a couple of rock piles outside of her regular supermarket to crumbling curbs or demolished structures, she sifts through a variety of shapes and sizes to find rocks that may eventually transform into vibrant mimics of common household items, boxed sandwiches from Pret a Manger, or Babybel brand snacking cheese. [...]

Using bricks, she creates humorously fat stacks of $1 and $5 bills, and cut pavers become Premium saltine cracker boxes. “That particular rock shape—a long rectangular cube—is to me the holy grail of rock shapes, because it doesn’t really naturally occur too much in nature,” Saloka says. When she finds a particular shape or cut that works well for certain objects, such as Pink Pearl erasers or popular candies, she collects as many as she can.

by Kate Mothes, Colossal | Read more:
Images: Elizabeth Saloka

Lina Kusaite aka Evelina Kusaite (Lithuanian, b. 1975, Kaunas, Lithuania, based Brussels, Belgium) - From Lotus Land series.

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Hollywood Sausage Factory

Quentin Tarantino has criticised contemporary Hollywood, calling it “a flavourless sausage factory”.

Writing in Sight and Sound magazine, Tarantino said that “since the pandemic … it seems almost impossible for a new movie to come out that I don’t pick to death”. He added: “Flaws, implausibilities, audience pandering, miscast performers or just plain stupid shit usually torpedoes every new movie coming out of the flavourless sausage factory that used to call itself Hollywood.” [...]

In his article, Tarantino dwelled at length on one current film he enjoyed – The Rip, directed by Joe Carnahan, currently on Netflix – and mentioned Steven Spielberg’s West Side Story and the Kevin Costner-directed Horizon: An American Saga Chapters 1 and 2 as recent films he liked. He went on to say that he had seen “nothing that really held me in its grip and swept me away to the magical land of enjoyment that I used to visit regularly and was the reason I loved movies above all other art forms. These days I’d rather read a book.”

by Andrew Pulver, The Guardian |  Read more:

Image: Noam Galai/Getty Images

[ed. Can't disagree. He's also known to have other strong opinions:]

tsukigi magazine covers

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Kobayashi Kiyochika
A whale and three fish sitting down to a formal dinner of Russian sailors, 1904 or 1905

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Bertrand Hugues
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Hug of Death

Will Japan's content industries survive the government's efforts to promote them?

You can be loved or you can be feared.

In a January interview, the White House’s chief of staff declared that we live in a world “that is governed by strength, that is governed by force, that is governed by power,” signaling America’s choice to take the latter path.

Japan, on the other hand, seems dedicated to the former. In February, Japanese government officials announced a plan to expand the size of the nation’s content production industry, meaning its books, manga, anime, games, movies, and more, to $130 billion USD by 2033, with an eye towards making pop culture a pillar of the economy.

Is this a realistic goal? That’s another story, one I tackled last month. But let’s put the punditry aside and say they succeed – that the Japanese government manages to create the world’s first true fantasy-industrial complex, a government and private industry working together to harness content production and export as an economic engine. (What about Korea, you might ask? They are a pop-cultural powerhouse, but the nation’s fortunes still rest upon the physical products it produces — content currently only accounts for 2% of their economy.) The question then becomes: what are the broader implications of linking a nation’s economic well-being to its entertainment industry? In other words, what happens when a country doesn’t simply promote its pop culture but comes to depend on it?

I’ve written for years about how Japan’s network of cultural producers has won hearts and minds around the globe – how their efforts have contributed to Japan’s considerable soft power. But that was an organic development, entirely grass roots, the product of countless creators and consumers collaborating over many years to build one of the most vibrant environments for pop culture on the planet. The government is well aware of its nation’s reputation as a pop superpower, but it played little role in making it so.

What about the Cool Japan fund? Notoriously ineffective. Critics (who include the fund’s own CEO) frame this as a bad thing. But I think otherwise. The scandals, the questionable investments (Cars? Refrigerators!?), and general ineptitude are a blessing in disguise. I say this with no schadenfreude. The Cool Japan bureaucrats I’ve met all seem like good folks. I say it because a government getting involved in the production of fantasies has huge implications for societies. And to be frank, I don’t think any of the architects behind Japan’s big push have really thought them through. [...]

Freedom of expression is a good thing, most of us will agree. But free speech is where the problems will begin, and compound, for the Japanese government. If the authorities are really going to take an active stand in promoting everything, without interfering in those creative works, they’re going to find themselves associated with things that get, well, creative with social norms. More than that, things that anger and disgust.

The dark matter of Japan’s pop-cultural industry is huge amounts of edgy content. Some of it is quite disturbing. (Don’t worry, that isn’t a risky click: it’s a link to the time I got “lolicon” into The New Yorker.) I’m not a fan of this material, but I’ve always believed the freedom Japanese artists feel to go places that polite society doesn’t, is part of what gives the content industry such vitality here. I mean, even if you aren’t producing crazy stuff, the knowledge that nothing’s off limits has to unshackle imaginations. Or shackle them. I don’t judge.

Anyway, promoting the industry as a whole doesn’t equal endorsement of any given content, right? The views and opinions expressed in this program are those of the speakers, blah blah blah, right? Right. But also wrong. Because once you’ve made Content with a capital C the foundation of your nation’s economy, it becomes your official face to the world. That includes all of the skeevy stuff that freaks people out, in Japan and elsewhere. And the implications of that are downright existential, as in “can a nation really exist on pop culture alone?”

by Matt Alt, Pure Invention |  Read more:

Image: uncredited

Velvet Underground
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"The great book of heaven is open to all eyes." Astronomy for amateurs. 1904.

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