Growing up during the Web 2.0 era, the Internet left a favorable impression on my engagement with content. From dissecting events through discourses on Twitter to discovering new music on MySpace, the Internet enabled me to access a wider range of information and adjust my preferences at a reduced rate. While I can easily comprehend these effects as a media consumer, I can only imagine the ramifications on actors, musicians, and even print journalists. Lower barriers to entry amplify their competition, while the resulting oversupply threatens the exposure of smaller creators. With a current comprehension that requires more observations, my professional work is dedicated to understanding the supply side of the media industry and its relationship with the Internet. Particularly, I am invested in recorded music and its ever-evolving response towards platformization, online intermediaries, and the long tail hypothesis.
As for the foundation that guides my outset in rationalizing phenomena, the baseline principle that I commonly work with is economics. I earned a Bachelor’s degree in economics from the University of Indonesia in 2018 and a Master of Arts degree (M.A.) in cultural economics and entrepreneurship from Erasmus University Rotterdam in 2022. To obtain the latter, I completed a thesis with the title ‘Backstage at the Pandemic: How the COVID-19 Pandemic Affected Music Production, Distribution, and Promotion among Unsigned Musicians in the United States.’ After defending the thesis, I joined an independent record label in The Netherlands before transitioning to a role that centers around fairness in the music industry (the FairMusE project) at imec-SMIT, VUB in 2023.