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Adult Contemporary Radio at the End of the Twentieth Century
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2019 Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century Saesha Senger University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2020.011 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Senger, Saesha, "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century" (2019). Theses and Dissertations--Music. 150. https://uknowledge.uky.edu/music_etds/150 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music 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. -
MAHANI TEAVE Concert Pianist Educator Environmental Activist
MAHANI TEAVE concert pianist educator environmental activist ABOUT MAHANI Award-winning pianist and humanitarian Mahani Teave is a pioneering artist who bridges the creative world with education and environmental activism. The only professional classical musician on her native Easter Island, she is an important cultural ambassador to this legendary, cloistered area of Chile. Her debut album, Rapa Nui Odyssey, launched as number one on the Classical Billboard charts and received raves from critics, including BBC Music Magazine, which noted her “natural pianism” and “magnificent artistry.” Believing in the profound, healing power of music, she has performed globally, from the stages of the world’s foremost concert halls on six continents, to hospitals, schools, jails, and low-income areas. Twice distinguished as one of the 100 Women Leaders of Chile, she has performed for its five past presidents and in its Embassy, along with those in Germany, Indonesia, Mexico, China, Japan, Ecuador, Korea, Mexico, and symbolic places including Berlin’s Brandenburg Gate, Chile’s Palacio de La Moneda, and Chilean Congress. Her passion for classical music, her local culture, and her Island’s environment, along with an intense commitment to high-quality music education for children, inspired Mahani to set aside her burgeoning career at the age of 30 and return to her Island to found the non-profit organization Toki Rapa Nui with Enrique Icka, creating the first School of Music and the Arts of Easter Island. A self-sustaining ecological wonder, the school offers both classical and traditional Polynesian lessons in various instruments to over 100 children. Toki Rapa Nui offers not only musical, but cultural, social and ecological support for its students and the area. -
'And I Swear...' – Profanity in Pop Music Lyrics on the American Billboard Charts 2009-2018 and the Effect on Youtube Popularity
INTERNATIONAL JOURNAL OF SCIENTIFIC & TECHNOLOGY RESEARCH VOLUME 9, ISSUE 02, FEBRUARY 2020 ISSN 2277-8616 'And I Swear...' – Profanity In Pop Music Lyrics On The American Billboard Charts 2009-2018 And The Effect On Youtube Popularity Martin James Moloney, Hanifah Mutiara Sylva Abstract: The Billboard Chart tracks the sales and popularity of popular music in the United States of America. Due to the cross-cultural appeal of the music, the Billboard Chart is the de facto international chart. A concern among cultural commentators was the prevalence of swearing in songs by artists who were previously regarded as suitable content for the youth or ‗pop‘ market. The researchers studied songs on the Billboard Top 10 from 2009 to 2018 and checked each song for profanities. The study found that ‗pop‘, a sub-genre of ‗popular music‘ did contain profanities; the most profane genre, ‗Hip-hop/Rap‘ accounted for 76% of swearing over the ten-year period. A relationship between amount of profanity and YouTube popularity was moderately supported. The researchers recommended adapting a scale used by the British television regulator Ofcom to measure the gravity of swearing per song. Index Terms: Billboard charts, popularity, profanity, Soundcloud, swearing, YouTube. —————————— —————————— 1 INTRODUCTION Ipsos Mori [7] the regulator of British television said that profane language fell into two main categories: (a) general 1.1 The American Billboard Charts and ‘Hot 100’ swear words and those with clear links to body parts, sexual The Billboard Chart of popular music was first created in 1936 references, and offensive gestures; and (b) specifically to archive the details of sales of phonographic records in the discriminatory language, whether directed at older people, United States [1]. -
Sofia Reyes- Biography
Sofia Reyes- Biography At just 23-years-old, Sofia Reyes is a successful singer and songwriter who has already been nominated twice to the Latin American Music Awards, MTV Europe Music Awards, Premios Juventud and Latin GRAMMYs among many other. Most of her hits like "Muévelo", "Sólo yo" and "1,2,3", have occupied the first places of the Billboard charts and her latest single (which featured Jason Derulo and De La Ghetto) has nearly half a billion views on YouTube and certifications around the world. Born in Monterrey, Mexico, at age 16, she decided to move to Los Angeles with her independent label, Bakab, and start her solo career after leaving the girl band where she started. Sofia shared her original music and covers through YouTube and the popularity of these videos caught the attention of Warner Music Latina, which in partnership with D'Leon Records (Prince Royce’s record label) and Bakab, would boost her career. Sofia’s first single, "Muévelo"- alongside Wisin- automatically charted at Billboard's Top 20 Latin Pop Songs, where it stayed for 5 months. The song also entered Spotify’s Global 200 Chart, along with artists such as Ed Sheeran and Meghan Trainor, being Sofia the only Mexican on that list. Sofia recorded the track "Sólo yo" with Prince Royce in 2016, a song that led her to become the first female singer in five years to reach the first position in Billboard’s Latin Pop chart (2016), after Jennifer Lopez. She also received platinum and gold certifications in markets such as Spain, Argentina and Mexico due to its high sales. -
An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan
Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-21-2019 An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts Megan Marie Carlan Follow this and additional works at: https://digitalcommons.pace.edu/honorscollege_theses Part of the Music Business Commons An Examination of Contemporary Christian Music Success Within Mainstream Rock and Country Billboard Charts By Megan Marie Carlan Arts and Entertainment Management Dr. Theresa Lant Lubin School of Business August 21, 2019 Abstract Ranging from inspirational songs void of theological language to worship music imbued with overt religious messages, Contemporary Christian Music (CCM) has a long history of being ill-defined. Due to the genre’s flexible nature, many Christian artists over the years have used vague imagery and secular lyrical content to find favor among mainstream outlets. This study examined the most recent ten-year period of CCM to determine its ability to cross over into the mainstream music scene, while also assessing the impact of its lyrical content and genre on the probability of reaching such mainstream success. For the years 2008-2018, Billboard data were collected for every Christian song on the Hot 100, Hot Rock Songs, or Hot Country Songs in order to detect any noticeable trend regarding the rise or fall of CCM; each song then was coded for theological language. No obvious trend emerged regarding the mainstream success of CCM as a whole, but the genre of Rock was found to possess the greatest degree of mainstream success. Rock also, however, was shown to have a very low tolerance for theological language, contrasted with the high tolerance of Country. -
Access the Best in Music. a Digital Version of Every Issue, Featuring: Cover Stories
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE MARCH 25, 2020 Page 1 of 28 INSIDE Coronavirus Causes Dip in • Paradigm’s Streaming, But Children’s Music, Coronavirus Layoffs Panned by Music Video on Demand & Catalog Industry: ‘This Is Really Just Greed’ Are Bright Spots • LA Clippers Owner Reaches $400M BY ED CHRISTMAN Deal to Purchase The Forum From MSG Music industry executives hoped that the coronavirus Within that, all sales formats, as summarized by • Radio Stations quarantines might buoy music streaming activity with albums plus track equivalent albums, fell a whopping Adjust to Social- so much of the population isolated indoors. So far, 25.6% last week to 1.94 million from the prior week Distancing, Work- the opposite has occurred. In the last two full weeks total of 2.61 million units. From-Home Studios as the Covid-19 pandemic was spreading across the Before Covid-19 took hold in the U.S., streaming Amid Coronavirus world, the U.S. industry has had a moderate downturn was soaring: the week ending March 5 marked 2020’s • As Dow Jones in streaming, with even bigger drops in physical. highest streaming week, with 25.55 billion plays. Scores Single-Day Two weeks ago, in the week ended March 12, the But there is a bigger cloud on the horizon: as mil- Record, Live Nation industry saw a dip in music streaming — down by 1% lions of people lose their jobs due to the vast economic & MSG Stocks Post to 25.3 billion streams from 25.55 billion streams. But shutdowns, some music executives fear that they will Big Gains it would appear that the longer people stayed out of get rid of fixed expenses —- namely, music stream- • Spotify Pledges the office, the less music they consumed. -
Top 40 UPDATE BILLBOARD.COM/NEWSLETTERS BILLBOARD.BIZ/NEWSLETTER JUNE 6, 2013 | PAGE 1 of 9
MID WEEK Top 40 UPDATE BILLBOARD.COM/NEWSLETTERS BILLBOARD.BIZ/NEWSLETTER JUNE 6, 2013 | PAGE 1 OF 9 INSIDE Top 40 And Radio Geeks, Unite! The Connected Consumer PAGE 3 RICH APPEL [email protected] What’s With a multitude of entertainment options out there, it’s easy to YOUNGER = HIGHER, LONGER, MORE New At forget that in top 40’s long history, a listener’s favorite station has Who are top 40’s P1s, and how engaged are they in the digital uni- The New never been the only game in town. There was always something verse? According to Edison Research VP Jason Hollins, 60% are Music else a consumer could do. Not to mention there are only so many female, 50% are age 12-24 and 60% 12-34, with an average age of hours in a day, right? 28. This younger skew means a greater Seminar The good news suggested by the HOW TOP 40’S P1s COMPARE TO THE POPULATION level of connectivity compared with PAGE 4 PERSONS TOP 40 Infinite Dial’s study of the format’s 12+ P1s not just other formats but to the 12- P1s—released last week by Edi- AM/FM radio usage in car 84% 88% plus and 12-34 population in general. Macklemore son Research and Arbitron—is that Awareness of Pandora 69% 88% Nearly 80% of P1s have Internet ac- & Ryan Lewis there seems to be plenty of room— Having a profile on any social network 62% 82% cess and use Wi-Fi, and one-third own and time—for all players. -
How Did an Unknown Artist Hit #1 on the Billboard Charts? Louisa Wendorff
Louisa Wendorff How did an unknown artist hit #1 on the Billboard Charts? Social Media Case Study Introduction Chart Positions: #1 Billboard Heatseekers Chart, #2 iTunes Singer/Songwriter Chart, #20 iTunes Album Chart. When we sat down with Louisa’s team, our initial plan was to crack the top 10 on iTunes Singer-Songwriter Charts. As we mentioned in our ebook, if you’re going to aim for an iTunes’ Chart, you’ve a much higher chance in the Singer-Songwriter category than you have in the Pop category where you can need up to 10 times the sales to hit Top 10. Louisa’s Chart Strategy Louisa used a chartbreaker package from Ditto Music. We set her up with a 6 week pre-release period alongside iTunes Instant Gratification and our PR and Social Media Team were given a target of a Top 10 iTunes placement. Brand Overhaul The first task was to build a consecutive brand with Louisa’s image. It’s complicated to go through all the tactics we used for the social media campaign, but here are some basic rules you should always follow. This is a before and after of Louisa’s Social Banners with some strategy explanation. Profile Photo Remember your profile photo will be seen in news feeds. It’s well known in advertising that eye contact is crucial for getting all important ‘click through’. So, on the left hand side we chose a face- on photo of Louisa with full eye contact. Our click through rates doubled overnight. Have you thought of changing your profile photo? Just changing the photo will increase click throughs. -
The Effect of Information on the Charts
The Effect of Information on the Charts: Evidence from Billboard Teni Adedeji Advisor: Julia Lowell March 2018 Special Thanks to Dr. Shelly Lundberg, Brendan Uyeshiro, and Ayo Adedeji 1 Abstract With the introduction of digital intermediaries allowing people to access songs and artists more easily, there has been a shift in how listeners consume music. In this paper, I examine the effects of introducing Spotify in two countries – United States and Canada – on music diversity, using a Difference-in-Differences approach. In addition, I use a linear regression to analyze the change in the number of genres that have shown up in the Billboard Hot 100 since the beginning of the 21st century. Both these findings suggest that there is a negative effect on music diversity – defined by the number of Unique Songs and Unique Genres that show up on the Billboard Hot 100 charts – when there is more digital technology present. The effects on Unique Songs were negative at an insignificant level while the effects of Unique Genres were negative at a significant level. A. Introduction On November 2, 2017, Spotify, a popular music streaming service, released an article announcing that listening diversity, the number of unique artists each user streams per week, has increased nearly 40% on their platform since 2014 (Erlandsson and Perez, 2017). The company attributed most of this listening diversity to the recommended playlists and other programs they provide that encourage listeners to consume new songs and discover new artists. On the other hand, MIDIA, a media and technology analysis company, released a study a couple years ago that the top 1% of artists accounted for 77% of sales revenue in 2013 (Mulligan, 2014). -
BTS' 'Butter' on a Roll, Spends Second Week at No. 1 on Billboard Hot
Bulletin YOUR DAILY ENTERTAINMENT NEWS UPDATE JUNE 7, 2021 Page 1 of 41 INSIDE BTS’ ‘Butter’ on a Roll, • Taylor Swift’s Spends Second Week at No. 1 ‘Evermore’ Returns to No. 1 on Billboard 200 Chart on Billboard Hot 100 • Revealed: BY GARY TRUST Billboard’s 2021 Indie Power Players TS’ “Butter” adds a second week at No. 1 on Sales chart, drops 4-10 on Streaming Songs and rises • Bill Ackman’s UMG the Billboard Hot 100 songs chart, a week 39-32 on Radio Songs. Play: A Bad Deal or after it soared in at the summit, becoming First two weeks at No. 1: “Butter” is the 23rd title Just Too Confusing the South Korean superstar group’s fourth to debut at No. 1 on the Hot 100 and post a second for Investors? Bleader on the list. consecutive week on top, among 54 total No. 1 ar- • Apple Music The song again fends off Olivia Rodrigo’s “Good 4 rivals, making for a 43% second-week success rate. Releases Spatial U,” which holds at No. 2 on the Hot 100, two weeks It’s the third among seven such songs this year, after Audio and Lossless after it launched at No. 1. Olivia Rodrigo’s “Drivers License” spent its first eight Streaming The Hot 100 blends all-genre U.S. streaming (of- weeks at No. 1 (encompassing its entire reign) and • How Premier’s ficial audio and official video), radio airplay and sales Polo G’s “Rapstar” ruled in its first two frames (also Josh Deutsch Is data. -
Has Half a Century of World Music Trade Displaced Local Culture?
University of Pennsylvania ScholarlyCommons Real Estate Papers Wharton Faculty Research 6-2013 Pop Internationalism: Has Half a Century of World Music Trade Displaced Local Culture? Fernando V. Ferreira University of Pennsylvania Joel Waldfogel University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/real-estate_papers Part of the International and Intercultural Communication Commons, Music Commons, Other Communication Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Ferreira, F. V., & Waldfogel, J. (2013). Pop Internationalism: Has Half a Century of World Music Trade Displaced Local Culture?. The Economic Journal, 123 (569), 634-664. http://dx.doi.org/DOI: 10.1111/ ecoj.12003 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/real-estate_papers/37 For more information, please contact [email protected]. Pop Internationalism: Has Half a Century of World Music Trade Displaced Local Culture? Abstract Advances in communication technologies have increased the availability of cultural goods across borders, raising concerns that cultural products from large economies will displace those in smaller economies. This article provides stylised facts about global music consumption and trade since 1960 using a unique data on popular music charts corresponding to over 98% of the global music market. Contrary to growing fears about large-country dominance, our gravity estimates show a substantial bias towards domestic music that has, perhaps surprisingly, -
2015 Nielsen Music Canada Report
2015 NIELSEN MUSIC CANADA REPORT 2015 NIELSEN MUSIC CANADA REPORT Copyright © 2016 The Nielsen Company 1 WELCOME ERIN CRAWFORD SVP ENTERTAINMENT & GM MUSIC Welcome to Nielsen’s year-end Canadian Music Report, a summary of consumption trends in Canada and Canadian consumer insights for 2015. In 2015 we modernized the Canadian Albums chart to include track downloads and streaming songs in addition to traditional album sales. The new chart reflects how fans now consume music, and in 2015 they were consuming more than ever. Total consumption, including sales, streams and track downloads, was up 15% compared to last year. Canadians are spending more hours per week listening to music (and listening more on their phones), going to more live music events and streaming more music than ever. And yet the biggest music consumption story of the year was not even available on streaming services. We were awed by Adele’s record-crushing 25. We monitored daily activity across sales, streaming, airplay and social, and were thrilled to report on every new milestone she achieved, incredible by any measuring stick. As advocates for the business of music, we are passionate about delivering the most valuable, actionable, insights into music fans - and believe that smart data can inform creativity. We hope you enjoy these 2015 highlights, and look forward to measuring your amazing 2016 successes. Sincerely, ERIN CRAWFORD 2 2015 NIELSEN MUSIC CANADA REPORT CONTENTS HIGHLIGHTS AND ANALYSIS ............................................................... 4 CONSUMPTION