A Spatial Exploration of Music Consumption Through the Lens of Socio-Political Power

Data Science For All / Women (DS4A/Women) is a free, merit-based program with a <5% admission rate, designed to help women improve data skills, connect with industry mentors, and join a diverse and skilled professional network.

In the summer of 2022, as a Data Science Fellow with the DS4A/Women program, I worked with a team of five brilliant women to map Spotify music consumption through the lens of geopolitical power, a project that was ultimately selected as one of five top projects in our cohort. My individual contributions to the project included data wrangling, socio-economic analysis and modeling, data visualization, and presenting the team’s findings.

Data visualization examples

The primary variable of interest in this analysis was the number of songs from each country that entered the top 100 charts of another country. This provides insight into countries with large influence in the international market, and helps to identify key music exporters.

To begin this analysis, the team looked at the proportion of each country’s chart-topping songs that came from artists originating in that country. We found large differences between the 33 countries included in the dataset. In this analysis, “domestic music consumption” refers to music produced by artists originating in the origin of the Top 100 chart. “International music consumption” refers to to music produced by artists originating from any country other than the origin of the Top 100 chart.

  • In the US, 80% of the music that makes it to the Top 100 charts on Spotify comes from domestic artists. France, Italy, Germany, and Brazil also heavily favored local music.

  • On the other end of the spectrum, less than 1% of the top 100 charts in Costa Rica were from local artists. 

  • On Average, 29% of the chart toppers in these countries came from domestic artists

A key component of our analysis was assessing the relationship between a country’s economic power (here measured in per capita GDP) and musical influence, which can be interpreted as an indicator of soft power.

Mapping GDP per capita against chart toppers per capita, we see a general positive correlation with a few notable outliers. 

  • Puerto Rico - Low GDP per capita and a high number of chart-toppers per capita

  • Norway - High GDP per capita, paired with a high number of chart-toppers per capita

  • Monaco - High GDP per capita, but a low number of chart-toppers per capita

  • United States - The US is less influential than expected when the number of chart-topping songs is adjusted for population size. By the raw number of chart-topping songs, the US is the most influential by a large margin.

Looking at the distribution of chart-topping songs by the artist’s country of origin, we see notable differences depending on whether we are looking at the raw number of songs that make the charts internationally, or whether we look at the number of songs per capita. When looking at the raw number of songs, the US tops the charts by a large margin, with by far the most number of songs by US artists making the charts internationally, followed by populous Western European countries like the UK, Germany, and France.

However, when adjusting for population size, a different trend emerges. Puerto Rico has an outsized influence on the international charts by population size, with over 1,600 chart-toppers per million residents, more than doubling Norway’s influence, with about 600 chart toppers per 1m population. This group of influencers per capita heavily features Latin American and Northern European countries.

United Nations Migration (IOM) - Lake Chad Basin Stability Index Report

In order to help find durable solutions for internal displacement — whether through return to communities of origin, local integration, or relocation – and to prevent new displacements in the region, it is critical to understand the relative levels of stability in locations hosting returnees or displaced populations. IOM launched the Stability Index (SI) in 2019 to evaluate the stability of areas hosting returnees or displaced populations in the LCB. The SI seeks to understand which factors influence a location's stability in order to identify priority interventions for transition and recovery, with the goal of strengthening the resilience and stability in this conflict and displacement-affected region. In practical terms, the Stability Index measures perceptions of stability and analyzes which factors have relatively larger impact on the decisions of populations to remain in place or to move. The tool can serve as a measure of stability in targeted areas in the LCB to enable governmental authorities and partners to develop better strategies, and to prioritize and plan resources in fragile, unstable areas for coherent and comprehensive interventions that link humanitarian, recovery, and stabilization approaches.  This report presents results from November 2021 - February 2022 Stability Index Round 2 of data collection conducted in Cameroon, Chad, Nigeria and Niger.

2021 Reading Analysis

I always write down each book I read in a notes app as soon as I finish. There is something so satisfying about watching the list grow throughout the year. Plus, I am horrible with remembering the names of books so it’s a handy reference when I want to give friends book recommendations!

In 2021, I read 38 books — 33 fiction and 5 non-fiction. I used to read a more balanced mix but got on a real escapist kick around March 2020. 37 of the books I read were in English, and one was in French (Harry Potter, of course). Although I didn’t track reading time, Harry Potter et le Prisonnier D’Azkaban definitely took me much longer to read than any of the other books, but I’m proud that I stuck with it.

The charts below compare my ratings for the books I read in 2021 with their average Goodreads scores. Overall, I ranked these books slightly more favorably than the average Goodreads user (4.13 for me and 4.06 for Goodreads), but overall it was pretty close. However, the averages mask some notable disagreements between me and GoodReads. The Monster Baru Cormorant was my lowest-rated book for the year, but GoodReads users rated it at nearly a 4. On the other hand, I loved a book on the origins of the gang MS-13, but it was the lowest-ranked book, according to GoodReads, off of my 2021 list.

The diverging bar chart below highlights the titles where GoodReads users and I diverged the most. You can also find this interpretation on the scatter plot above, but I wanted to make it easier to pick out individual books and see where we disagreed. Besides the books I highlighted earlier, I was surprised to see the entire “cyberpunk techno-thriller” Centinal Cycle series by Malka Older was one of my biggest disagreements with GoodReads users (granted, I did give all the books a score of 5.) Whatever GoodReads, I still recommend the series!