In early 2023, an 18-year-old college student decided to make her first-ever shoegaze song. Her friend sent her a “beat,” a grungy shoegaze instrumental crafted by the producer grayskies, and she spent two hours recording herself singing over it into her phone, using her everyday Apple earbuds as a microphone. No guitars were strummed, and no reverb pedals were stepped on. The next day, she titled the song “Your Face” and uploaded a snippet of it on TikTok, posting under the artist name Wisp. The video gained 100k views overnight, so she made another. That one got 600k views. She made another. That one quickly racked up 1 million views. Soon after, “Your Face” was being streamed millions of times on Spotify, and before Wisp even released a second song, she had signed a deal with Interscope Records.

Fast-forward eight months later and “Your Face” has been streamed nearly 30 million times on Spotify, almost twice as much as My Bloody Valentine’s classic Loveless closer “Soon.” The official sound snippet has been used in 126k TikTok videos, almost as many as Mitski’s runaway TikTok goliath “Washing Machine Heart” (174k videos). In the real world, Wisp sold-out her first-ever show in less than a half hour, and then her second just as quickly.

Consider this article a bit of a “shot, chaser” to my previous post.

I’ve been really into shoegaze lately. This article does a fantastic job of highlighting how zoomers used TikTok to give the genre a renaissance.

It's a good reminder that social media isn’t innately awful. It warms my heart to see the children using these incredible technologies to unite under the banner of ethereal and somewhat depressing tunes.

Go check out Duster's album Stratosphere.

Here is how platforms die: First, they are good to their users; then they abuse their users to make things better for their business customers; finally, they abuse those business customers to claw back all the value for themselves. Then, they die.

I call this enshittification, and it is a seemingly inevitable consequence arising from the combination of the ease of changing how a platform allocates value, combined with the nature of a "two-sided market," where a platform sits between buyers and sellers, hold each hostage to the other, raking off an ever-larger share of the value that passes between them.

If you’ve spent much time in the same tech bubbles as me this past year, you’ve probably come across this article already.

At a bare minimum, I’m sure you’ve seen the phrase “enshittification.”

Once you understand the concept, you do start to see the pattern unfold around you constantly. ¹

While there are countless examples of this natural platform decay within our virtual world, what about the physical world?

Is enshittification simply human nature, an inescapable fate for any collaborative endeavor above a certain size?

And if enshittification is not inevitable, what are the forces that lead to it, and how can we combat them when building our own communities?

The era of social-media monopolies has been unhealthy for our collective digital existence. The Internet at its best should be weird, energetic, and exciting—featuring both homegrown idiosyncrasy and sudden trends that flash supernova-bright before exploding into the novel elements that spur future ideas and generate novel connections.

This exuberance was suppressed by the dominance of a small number of social-media networks that consolidated and controlled so much of online culture for so many years. Things will be better once this dominance wanes.

In the end, TikTok’s biggest legacy might be less about its current moment of world-conquering success, which will pass, and more about how, by forcing social-media giants like Facebook to chase its model, it will end up liberating the social Internet.

I saw Cal reference this article in his most recent post, and I’m glad he mentioned it because I must’ve missed it a couple years back.

I have been grossed out by TikTok’s blatant predatory behavior ever since hearing how their algorithms work.

Sure, most major social media companies have resorted to similar tactics, but there was something brazen about the way TikTok does it which feels egregious.

Cal’s analysis seems spot on to me. TikTok represents what happens when you’ve won the race to the bottom, or when the dog catches the tire.

As soon as you’ve got the thing, what else is there to do? Where else is there to go?

It’s all sizzle and no steak.

I’m sick of having my attention stolen from me under the guise of “connectedness.”¹ Real connections require compromise, empathy, and growth. Sure, I get some dopamine hits when I see a funny or enraging video, but I don’t seem to get much else.