My questions stem from Nancy Baym’s statement in her article that “online platforms and locales have become increasingly specialized in the functions they serve for fans”. First, what are different examples of platforms that are “specialized in functions they serve for fans”, now? Second, since there has been an emergence in youtube, vine and musical.ly fans could it be argued that different platforms or apps are for specific types of fans or creators?
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Ashlee Villasenor's Blog 
A good question. Of course there’s no way to answer this from within Baym’s piece since it was written years ago, but I’ll count it because answering it requires understanding her piece well. As for an answer, I’m afraid I’m not that familiar with music fandom today (at least, not as much as perhaps I once was). Is Last.fm still a thing? That tool was fascinating because it allowed users to discover new music based on what fellow users said they liked and how they overlapped with one another. So it is/was much more networked and community-oriented (in terms of sharing with like-minded others) than other tools.
Maybe you could say a little more about the sites you mention – Youtube, Vine, and Musical.ly – and how they serve music fans in particular ways through their use of digital networked media affordances?
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