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Legitimizing Pay to Play: Marketizing Radio Content Through a Responsive Auction Mechanism
LEGITIMIZING PAY TO PLAY: MARKETIZING RADIO CONTENT THROUGH A RESPONSIVE AUCTION MECHANISM Alon Rotem* I. INTRODUCTION ............................................. 130 II. RADIO REGULATION BACKGROUND / HISTORY ........ 131 A. Government Enforced Public Interest Standards...... 131 B. Marketization of the Public Interest Doctrine ........ 133 C. The Impact of the 1996 Telecommunications Act on License Renewals .................................... 134 III. PAYOLA RULES ............................................ 135 A. Payola Rules Impact on the Recording Industry ...... 136 B. A Brief History of Payola Transgressions ............ 137 C. Falloutfrom Recent Payola Prosecution .............. 139 D. Modern Payola Rules Ambiguity ..................... 139 IV. IMPACT OF TECHNOLOGY AND AUCTIONS ON BROAD- CAST SCARCITY ............................................ 140 A. The Rise and Evolution of Technology-Driven A uctions ....... ..................................... 141 B. Applying the Auction Mechanism to Radio Content Programm ing ........................................ 141 * J.D. Candidate 2007, University of California, Berkeley, Boalt Hall School of Law. B.S. Managerial Economics, 2001, University of California, Davis. I would like to thank my wife, Nicole, parents, Doron and Batsheva, and brothers, Tommy and Jonathan for their love, support, and encouragement. Additionally, I would like to thank Professor Howard Shelanski for his wisdom and guidance in the "Telecommunications Law & Policy" class for which this comment was written. Special thanks to Paul Cohune, who has generously de- voted his time to editing this and virtually every paper I have written in the last 10 years, to Zach Katz for sharing his profound knowledge of the music industry, and to my future col- leagues at Ropes & Gray, LLP. I am also very grateful for the assistance of the editors of the UCLA Entertainment Law Review. Mr. Rotem welcomes comments at alon.rotem@ gmail.com. -
Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the Podcast Online, Visit
Jeff Smith Head of Music, BBC Radio 2 and 6 Music Media Masters – August 16, 2018 Listen to the podcast online, visit www.mediamasters.fm Welcome to Media Masters, a series of one to one interviews with people at the top of the media game. Today, I’m here in the studios of BBC 6 Music and joined by Jeff Smith, the man who has chosen the tracks that we’ve been listening to on the radio for years. Now head of music for BBC Radio 2 and BBC Radio 6 Music, Jeff spent most of his career in music. Previously he was head of music for Radio 1 in the late 90s, and has since worked at Capital FM and Napster. In his current role, he is tasked with shaping music policy for two of the BBC’s most popular radio stations, as the technology of how we listen to music is transforming. Jeff, thank you for joining me. Pleasure. Jeff, Radio 2 has a phenomenal 15 million listeners. How do you ensure that the music selection appeals to such a vast audience? It’s a challenge, obviously, to keep that appeal across the board with those listeners, but it appears to be working. As you say, we’re attracting 15.4 million listeners every week, and I think it’s because I try to keep a balance of the best of the best new music, with classic tracks from a whole range of eras, way back to the 60s and 70s. So I think it’s that challenge of just making that mix work and making it work in terms of daytime, and not only just keeping a kind of core audience happy, but appealing to a new audience who would find that exciting and fun to listen to. -
Vinyls-Collection.Com Page 1/222 - Total : 8629 Vinyls Au 05/10/2021 Collection "Artistes Divers Toutes Catã©Gorie
Collection "Artistes divers toutes catégorie. TOUT FORMATS." de yvinyl Artiste Titre Format Ref Pays de pressage !!! !!! LP GSL39 Etats Unis Amerique 10cc Windows In The Jungle LP MERL 28 Royaume-Uni 10cc The Original Soundtrack LP 9102 500 France 10cc Ten Out Of 10 LP 6359 048 France 10cc Look Hear? LP 6310 507 Allemagne 10cc Live And Let Live 2LP 6641 698 Royaume-Uni 10cc How Dare You! LP 9102.501 France 10cc Deceptive Bends LP 9102 502 France 10cc Bloody Tourists LP 9102 503 France 12°5 12°5 LP BAL 13015 France 13th Floor Elevators The Psychedelic Sounds LP LIKP 003 Inconnu 13th Floor Elevators Live LP LIKP 002 Inconnu 13th Floor Elevators Easter Everywhere LP IA 5 Etats Unis Amerique 18 Karat Gold All-bumm LP UAS 29 559 1 Allemagne 20/20 20/20 LP 83898 Pays-Bas 20th Century Steel Band Yellow Bird Is Dead LP UAS 29980 France 3 Hur-el Hürel Arsivi LP 002 Inconnu 38 Special Wild Eyed Southern Boys LP 64835 Pays-Bas 38 Special W.w. Rockin' Into The Night LP 64782 Pays-Bas 38 Special Tour De Force LP SP 4971 Etats Unis Amerique 38 Special Strength In Numbers LP SP 5115 Etats Unis Amerique 38 Special Special Forces LP 64888 Pays-Bas 38 Special Special Delivery LP SP-3165 Etats Unis Amerique 38 Special Rock & Roll Strategy LP SP 5218 Etats Unis Amerique 45s (the) 45s CD hag 009 Inconnu A Cid Symphony Ernie Fischbach And Charles Ew...3LP AK 090/3 Italie A Euphonius Wail A Euphonius Wail LP KS-3668 Etats Unis Amerique A Foot In Coldwater Or All Around Us LP 7E-1025 Etats Unis Amerique A's (the A's) The A's LP AB 4238 Etats Unis Amerique A.b. -
Issue 37 | Apr 2018 Comedy, Literature & Film in Stroud
AN INDEPENDENT, FREE MONTHLY GUIDE TO MUSIC, ART, THEATRE, ISSUE 37 | APR 2018 COMEDY, LITERATURE & FILM IN STROUD. WWW.GOODONPAPER.INFO ISSUE #37 Inside: Annual Site Festival: Record Festival Moomins & Store Day Guide The Comet 2018 + The Clay Loft | Mark Huband | Bandit | Film Posters Reinterpreted Cover image by Joe Magee Joe image by Cover #37 | Apr 2018 EDITOR Advertising/Editorial/Listings: Editor’s Note Alex Hobbis [email protected] DESIGNER Artwork and Design Welcome To The Thirty Seventh Issue Of Good On Adam Hinks [email protected] Paper – Your Free Monthly Guide To Music Concerts, Art Exhibitions, Theatre Productions, Comedy Shows, ONLINE FACEBOOK TWITTER Film Screenings And Literature Events In Stroud… goodonpaper.info /GoodOnPaperStroud @GoodOnPaper_ Well Happy Birthday to us…Good On Paper is three! And we’ve gone a bit bumper. 32 PRINTED BY: pages this month – the most pages we have ever printed in one issue. All for you. To read. Then maybe recycle. Or use as kindling (these vegetable inks burn remarkably well). Tewkesbury Printing Company With it being our anniversary issue we’ve made a few design changes – specifically to the universal font and also to the front cover. For the next year we will be inviting some of our favourite local artists to design the front cover image – simply asking them to supply a piece of new work which might relate to one of the articles featured in that particular SPONSORED BY: issue. This month we asked our friend the award winning film maker and illustrator Joe Magee... Well that’s it for now, hope you enjoy this bigger issue of Good On Paper. -
The Rolling Stones and Performance of Authenticity
University of Kentucky UKnowledge Theses and Dissertations--Art & Visual Studies Art & Visual Studies 2017 FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY Mariia Spirina University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.135 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Spirina, Mariia, "FROM BLUES TO THE NY DOLLS: THE ROLLING STONES AND PERFORMANCE OF AUTHENTICITY" (2017). Theses and Dissertations--Art & Visual Studies. 13. https://uknowledge.uky.edu/art_etds/13 This Master's Thesis is brought to you for free and open access by the Art & Visual Studies at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Art & Visual Studies by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and Much, Much More
The World’s Greatest Comic Magazine of Art, Literature and Music! Number 9 $5.95 John Lurie/Samuel Delany/Vladimir Mayakovsky/James Romberger Fred Frith/Marty Thau/ Larissa Shmailo/Darius James/Doug Rice/ and much, much more . SENSITIVE SKIN MAGAZINE is also available online at www.sensitiveskinmagazine.com. Publisher/Managing Editor: Bernard Meisler Associate Editors: Rob Hardin, Mike DeCapite & B. Kold Music Editor: Steve Horowitz Contributing Editors: Ron Kolm & Tim Beckett This issue is dedicated to Chris Bava. Front cover: Prime Directive, by J.D. King Back cover: James Romberger You can find us at: Facebook—www.facebook.com/sensitiveskin Twitter—www.twitter.com/sensitivemag YouTube—www.youtube.com/sensitiveskintv We also publish in various electronic formats (Kindle, iOS, etc.), and have our own line of books. For more info about SENSITIVE SKIN in other formats, SENSITIVE SKIN BOOKS, and books, films and music by our contributors, please go to www.sensitiveskinmagazine.com/store. To purchase back issues in print format, go to www.sensitiveskinmagazine.com/back-issues. You can contact us at [email protected]. Submissions: www.sensitiveskinmagazine.com/submissions. All work copyright the authors 2012. No part of this book may be used or reproduced in any manner whatsoever without the prior written permission of both the publisher and the copyright owner. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. ISBN-10: 0-9839271-6-2 Contents The Forgetting -
Herman Brood & His Wild Romance Go Nutz Mp3, Flac
Herman Brood & His Wild Romance Go Nutz mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Go Nutz Country: Germany Released: 1980 Style: Rock & Roll, Pop Rock MP3 version RAR size: 1935 mb FLAC version RAR size: 1970 mb WMA version RAR size: 1913 mb Rating: 4.3 Votes: 517 Other Formats: MPC VQF WMA MP3 MMF ASF AA Tracklist Hide Credits Go Nutz A1 3:05 Written-By – D. Lademacher*, K. Fowley* Love You Like I Love Myself A2 3:32 Written-By – E. Strack van Schijndel* I Don't Need You A3 3:36 Written-By – D. Lademacher*, H. Brood* I'll Be Doggone A4 3:43 Written-By – M. Tarplin*, W. Robinson*, W. Moore* Right On The Money A5 4:26 Written-By – D. Lademacher*, H. Brood* Hot Shot B1 3:30 Written-By – D. Lademacher*, H. Brood* Born Before My Time B2 4:28 Written-By – D. Lademacher*, K. Fowley* Beauty Is Only Skin Deep B3 2:58 Written-By – Eddie Holland*, N. Whitfield* Easy Pick Up B4 4:33 Written-By – D. Lademacher*, H. Brood* Laurie B5 4:05 Written-By – D. Lademacher*, H. Brood* Companies, etc. Marketed By – Intercord Ton GmbH Phonographic Copyright (p) – Ariola Music Benelux B.V. Copyright (c) – Ariola Music Benelux B.V. Recorded At – Studio Sound Recorders Credits Art Direction – Rens Benerink Artwork [Lithography] – Colorset Backing Vocals – Chuck Francour, Danny Lademacher*, Darlene Love, Edna Wright Bass – Eric Nelson, Freddie Cavalli* Design [Cover] – Carol Feldman Drums – Kees Meerman*, Craig Kramph*, Roger Gorden Engineer – Ryan Ulyate Keyboards – Herman Brood, Page Porrazzo, Stephen Hines Lead Guitar, Rhythm Guitar – Danny Lademacher* Mastered By – Jim Dorrel* Percussion – Page Porrazzo, Ryan Ulyate Photography By – Govert de Roos, Jonathon Exley* Producer – Tim O'Brien Producer [Assistant] – Page Porrazzo Rhythm Guitar – Lenny Macaluso Saxophone – Rick Kellis Synthesizer [Prophet] – D'Arnel Pershing* Notes Recorded at Studio Sound Recorders, North Hollywood, California. -
Playlists from the Matrix — Combining Audio and Metadata in Semantic Embeddings
PLAYLISTS FROM THE MATRIX — COMBINING AUDIO AND METADATA IN SEMANTIC EMBEDDINGS Kyrill Pugatschewski1;2 Thomas Kollmer¨ 1 Anna M. Kruspe1 1 Fraunhofer IDMT, Ilmenau, Germany 2 University of Saarland, Saarbrucken,¨ Germany [email protected], [email protected], [email protected] ABSTRACT 2. DATASET 2.1 Crawling We present a hybrid approach to playlist generation which The Spotify Web API 2 has been chosen as source of playlist combines audio features and metadata. Three different ma- information. We focused on playlists created by tastemak- trix factorization models have been implemented to learn ers, popular users such as labels and radio stations, as- embeddings for audio, tags and playlists as well as fac- suming that their track listings have higher cohesiveness in tors shared between tags and playlists. For training data, comparison to user collections of their favorite songs. Ex- we crawled Spotify for playlists created by tastemakers, tracted data includes 30-second preview clips, genres and assuming that popular users create collections with high high-level audio features such as danceability and instru- track cohesion. Playlists generated using the three differ- mentalness. ent models are presented and discussed. In total, we crawled 11,031 playlists corresponding to 4,302,062 distinct tracks. For 1,147 playlists, we have pre- view clips for their 54,745 distinct tracks. 165 playlists are curated by tastemakers, corresponding to 6,605 tracks. 1. INTRODUCTION 2.2 Preprocessing The overabundance of digital music makes manual compi- To use the high-level audio features within our model, we lation of good playlists a difficult process. -
Glam Rock by Barney Hoskyns 1
Glam Rock By Barney Hoskyns There's a new sensation A fabulous creation, A danceable solution To teenage revolution Roxy Music, 1973 1: All the Young Dudes: Dawn of the Teenage Rampage Glamour – a word first used in the 18th Century as a Scottish term connoting "magic" or "enchantment" – has always been a part of pop music. With his mascara and gold suits, Elvis Presley was pure glam. So was Little Richard, with his pencil moustache and towering pompadour hairstyle. The Rolling Stones of the mid-to- late Sixties, swathed in scarves and furs, were unquestionably glam; the group even dressed in drag to push their 1966 single "Have You Seen Your Mother, Baby, Standing in the Shadow?" But it wasn't until 1971 that "glam" as a term became the buzzword for a new teenage subculture that was reacting to the messianic, we-can-change-the-world rhetoric of late Sixties rock. When T. Rex's Marc Bolan sprinkled glitter under his eyes for a TV taping of the group’s "Hot Love," it signaled a revolt into provocative style, an implicit rejection of the music to which stoned older siblings had swayed during the previous decade. "My brother’s back at home with his Beatles and his Stones," Mott the Hoople's Ian Hunter drawled on the anthemic David Bowie song "All the Young Dudes," "we never got it off on that revolution stuff..." As such, glam was a manifestation of pop's cyclical nature, its hedonism and surface show-business fizz offering a pointed contrast to the sometimes po-faced earnestness of the Woodstock era. -
“I Will Survive” Original Work, Derivatives, and Covers
Copyright Lore Since its 1978 release, “I Will Survive” has been recorded “I Will Survive” and released many times. Gaynor recorded a derivative work of the song translated into Spanish, “Yo Vivire,” in 1979, and Polydor Incorporated registered that version for Original Work, copyright protection. The next year, Discos Musart S.A. registered Juan Torres’ album Amor en la Discotheque, Derivatives, which also included a recording of the Spanish translation. Two more derivative works were registered in 1994 when PolyGram Records, Inc. released remixes of Gaynor’s English and Covers and Spanish versions of the song. ALISON HALL Covers of “I Will Survive,” in different styles of music, began to hit the charts soon after the original. Billie Jo Spears’ country version was one of the first. It appeared Gloria Gaynor’s iconic 1978 hit “I Will Survive” is recognized in the Library’s National Recording Registry. on her album The Billie Jo Spears Singles Album. Chantay Savage recorded a soulful rendition of it on her album I Will Today, multiple generations enjoy the song, and Gaynor continues to perform the hit around the world, Survive (Doin It My Way) in 1996. In 2002, Cake recorded a including at the Library’s Bibliodiscotheque. Dino Fekaris and Freddie Perren wrote the words and music rock-based version on their album Fashion Nugget, and in 2007, The Puppini Sisters recorded a 1940s-style version to the song as a work made for hire for Perren-Vibes Music Co., who submitted the original copyright on their album Betcha Bottom Dollar. For each of these application. -
TELLIN' STORIES: the Art of Building & Maintaining Artist Legacies
TELLIN’ STORIES The Art Of Building & Maintaining Artist Legacies TELLIN’ STORIES: The Art of Building & Maintaining Artist Legacies Introduction “A legacy has to be proactive and reactive at the same time and their greatest successes lie in simultaneously looking back to guide the way forward...” Legacies in music are a life’s work – constantly sometimes it can have a detrimental impact. It is evolving and surprising audiences. a high-wire act and a bad decision can unspool a lifetime of work, an image becomes frozen or the It does not follow, however, that just because you artists (and their art) are painted into a corner. have built a legacy in your career that it is set in stone forever. Legacies are ongoing work and they When an artist passes away, that work they have to be worked at, refined and maintained. achieved in their lifetime has to be carried on by the Existing audiences have to be held onto and new artist’s estate. Increasingly they have to be worked audiences have to be continually brought on board. and developed just like current living artists. Streaming and social media have made that always- Equally, it does not follow that everything an on approach more straightforward, but every step artist and their team does will add to or expand has to be carefully calculated and remain true to that legacy. Sometimes it can have no impact and the original vision of that artist. 2 TELLIN’ STORIES: The Art of Building & Maintaining Artist Legacies Contents 02 Introduction 04 Filing systems: the art of archive management 12 Inventory -
PRRP 021 – Peter Gabriel Manchester 1980 – Liner Notes
Through The Wire With the release of his ground-breaking third solo album in May 1980, Peter Gabriel firmly began to establish his reputation as a highly innovative solo artist. In February of that year, before the release of the album, he embarked on a British tour, dubbed the „Tour Of China 1984‟, showcasing new material and a streamlined, more direct live sound. At The Apollo in Manchester, Gabriel and his band entered from the rear of the auditorium, arriving on stage to the menacing opening strains of “Intruder”. Alongside Tony Levin on bass and Larry Fast on keyboards was a surprising new recruit – guitarist John Ellis from punk outfit THE VIBRATORS. It was Ellis‟ raw, dry guitar, combined with Jerry Marotta‟s dominant, economical drumming, which gave Gabriel‟s new live sound much of its harder edge. This recording, from March 5th 1980, includes several rarely performed songs from Peter Gabriel‟s live repertoire at the time. “Milgram‟s 37”, given a lengthy explanatory introduction by Gabriel, wouldn‟t appear on an album until 1986‟s classic “So”, where it was renamed “We Do What We‟re Told”. The minimal “Lead A Normal Life” complements “Mother Of Violence” while “Bully For You” (co-written with Tom Robinson, who provided the lyrics for Gabriel‟s music) and the ebullient “I Go Swimming” both remain unreleased as studio recordings. “Games Without Frontiers” provided Gabriel with his second solo hit single (following the early success of “Solsbury Hill” in 1977) and it was during this song that he chose to leave the stage and venture into the audience to encourage a sing-along of the “Jeux Sans Frontières” chorus refrain.