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Billboard Magazine
Pop's princess takes country's newbie under her wing as part of this season's live music mash -up, May 31, 2014 1billboard.com a girl -powered punch completewith talk of, yep, who gets to wear the transparent skirt So 99U 8.99C,, UK £5.50 SAMSUNG THE NEXT BIG THING IN MUSIC 200+ Ad Free* Customized MINI I LK Stations Radio For You Powered by: Q SLACKER With more than 200 stations and a catalog of over 13 million songs, listen to your favorite songs with no interruption from ads. GET IT ON 0)*.Google play *For a limited time 2014 Samsung Telecommunications America, LLC. Samsung and Milk Music are both trademarks of Samsung Electronics Co. Ltd. Appearance of device may vary. Device screen imagessimulated. Other company names, product names and marks mentioned herein are the property of their respective owners and may be trademarks or registered trademarks. Contents ON THE COVER Katy Perry and Kacey Musgraves photographed by Lauren Dukoff on April 17 at Sony Pictures in Culver City. For an exclusive interview and behind-the-scenes video, go to Billboard.com or Billboard.com/ipad. THIS WEEK Special Double Issue Volume 126 / No. 18 TO OUR READERS Billboard will publish its next issue on June 7. Please check Billboard.biz for 24-7 business coverage. Kesha photographed by Austin Hargrave on May 18 at the MGM Grand Garden Arena in Las Vegas. FEATURES TOPLINE MUSIC 30 Kacey Musgraves and Katy 5 Can anything stop the rise of 47 Robyn and Royksopp, Perry What’s expected when Spotify? (Yes, actually.) Christina Perri, Deniro Farrar 16 a country ingenue and a Chart Movers Latin’s 50 Reviews Coldplay, pop superstar meet up on pop trouble, Disclosure John Fullbright, Quirke 40 “ getting ready for tour? Fun and profits. -
Billboard on Pandora
Billboard on Pandora: If it monetizes listening like AM/FM, it's sustainable Pandora's ratio of revenue to its share of radio listening means earnings potential, says Billboard Posted by: Paul Maloney Labels and performers critical of Pandora's efforts to lower the royalties it pays often say the webcaster should simply sell more ads and generate more revenue. Billboard says its analysis of Pandora's business model indicates it is, in fact, "well-positioned to turn its massive listening audience into profits." It's simply a matter of monetizing its audience at the same rate as broadcast radio, according to the analysis. "Pandora had roughly a 7% share of U.S. radio listening in June," writes Billboard's Glenn Peoples. "A 7% share of the $16 billion radio advertising market is worth $980 million to broadcast radio. Pandora’s revenue during the last four quarters was just $417 million. That implies Pandora’s current market share could generate an additional $563 million." Morgan Stanley analyst Scott Devitt predicted a 15% share of radio listening for Pandora by 2015, which at its current montetization would amount to half a billion in ad revenue. Billboard reasons that if Pandora squeezed the same revenue out of its inventory as radio, it would be four times that ($2 billion). So, would Pandora need to load up on ads like so many local broadcasters, with several 6- or 8-minute spot breaks per hour? Wouldn't that substantially affect audience? Or would superior ad-targeting mean Pandora could charge advertisers a substantially higher rate -
''Moments of Clarity''and Sounds of Resistance: Veiled Literary
“Moments of Clarity” and Sounds of Resistance: Veiled Literary Subversions and De-Colonial Dialectics in the Art of Jay Z and Kanye West A dissertation submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English Language and Comparative Literatures of the College of Arts and Sciences by Sha’Dawn D. Battle B.A., Central State University 2007 M.A., Wright State University 2009 November 2016 Committee Chair: Sharon Dean, PH.D. Abstract “‘Moments of Clarity’ and Sounds of Resistance: Veiled Literary Subversions and De- Colonial Dialectics in the Art of Jay Z and Kanye West” employs rap music as an object of inquiry into the question of contemporary manifestations of anti-Black oppression, demonstrating the ways in which the art of rappers Jay Z and Kanye West in particular, covertly elucidates the conditions and discursive and ideological mechanisms of power that make possible the exploitation, repression, and destruction of Black bodies in America. In the first two chapters, I argue that this illuminative potential is, in part, what attributes to the political utility of mainstream rap music. My first goal is therefore to make apparent mainstream rap music’s rightful place in Black liberation politics given its ability to unveil the functionality of age-old Eurocentric, white supremacist paradigms, such as rendering Black bodies incorrigibly animal, denying Black bodies access to subjectivity, or negating Black ontology. These ideologies give rise to exclusionary monolithic constructions of what it means to be human, pathological constructions of “blackness,” Black masculinity especially, and subsequently, the arbitrary conferral of power (to both state apparatuses and individuals racially coded as “superior”), which manifests in the form of systematic and institutional racism, and ultimately, Black male disembodiment. -
Recording Copyright Term and the Supply of Music
It was Fifty Years Ago Today: Recording Copyright Term and the Supply of Music Megan MacGarvie Boston University, Questrom School of Business and NBER John McKeon Boston University, Questrom School of Business Jeremy Watson University of Minnesota, Carlson School of Management July 20, 2021 It was Fifty Years Ago Today: Recording Copyright Term and the Supply of Music Abstract This paper examines the effect of the expiry of recording copyright on the supply of music - in the form of re-releases, availability in streaming platforms, and concert per- formances - by artists popular in the UK in the 1960s. We find that recording copyright expiry has different effects on a song's availability in different distribution channels. The lapsing of copyright leads to a large increase in the number of re-releases in physical formats, holding constant artist, age, and year fixed effects. However, when a song's original recording copyright expires, it becomes less likely to be performed in concert. Moreover, copyright status is not associated with differences in availability on the digital streaming platform Spotify. These results show that copyright has nuanced effects on availability, and can lead to different and even opposite effects on availability of a prod- uct across different distribution channels. They also show that within the context of digital distribution, the impact of copyright on availability differs based on the business model of a platform. Keywords: Intellectual Property, Copyright, Music Industry JEL Codes: O34 Copyright is critical to the strategies of firms that sell creative products such as music. Yet much of the empirical literature on the effects of copyright has studied content distribution channels from the pre-digital era, typically focusing on a single distribution channel.1 Because technological change has led to a rapid and dramatic evolution of business models in copyright-intensive industries, more empirical research is needed to inform and adapt copyright regimes and firm strategy (Greenstein et al., 2013). -
Cheat Codes Stay with You Album Download Cheat Codes Feat
cheat codes stay with you album download Cheat Codes feat. Cade - Stay With You. ------------- Subscribe: https://brycevine.lnk.to/SubscribeYT ------------- Connect with Bryce: Facebook: http://facebook.com/brycevine Twitter: https://twitter.com/brycevine Instagram: https://instagram.com/brycevine Website: www.brycevine.com. Connect with Cheat Codes: Facebook: https://www.facebook.com/cheatcodes Twitter: https://twitter.com/cheatcodesmusic Instagram: https://www.instagram.com/cheatcodes Snapchat: cheatcodesmusic Spotify: http://smarturl.it/CheatCodesspotify Website: http://cheatcodesmusic.com Text Cheat Codes @ 323 425 4775. Lyrics: I know I gotta leave but I wanna stay Take another shot for the memory Don’t wanna leave here I’m tryna be here Know I gotta leave but I wanna stay Why we gotta work when we wanna play Take another shot for the memory Don’t wanna leave here I’m tryna be here Know I gotta leave but I wanna stay. Cancel my flight I’ll be home Sunday but just not tonight Push back my life I’ll take for granted these things that I like Champagne showers are coming down Plans on ice I go in and out Ain’t no way I can stick around I say the same thing every time. I know I gotta leave but I wanna stay Take another shot for the memory Don’t wanna leave here I’m tryna be here Know I gotta leave but I wanna stay Why we gotta work when we wanna play Take another shot for the memory Don’t wanna leave here I’m tryna be here Know I gotta leave but I wanna stay (Gotta leave gotta leave) Gotta leave but I wanna stay (Gotta leave gotta leave) know I gotta leave but I wanna stay. -
UNIVERSITY of CALIFORNIA Los Angeles Derivative Media: The
UNIVERSITY OF CALIFORNIA Los Angeles Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Television by Andrew Michael deWaard 2017 © Copyright by Andrew Michael deWaard 2017 ABSTRACT OF THE DISSERTATION Derivative Media: The Financialization of Film, Television, and Popular Music, 2004-2016 by Andrew Michael deWaard Doctor of Philosophy in Film and Television University of California, Los Angeles, 2017 Professor John T. Caldwell, Chair This dissertation traces the entrance of the financial industries – particularly private equity firms, corporate venture capital, and institutional investors – along with their corresponding financial logic and labor, into the film, television, and music industries from 2004-2016. Financialization – the growing influence of financial markets and instruments – is premised on highly-leveraged debt, labor efficiencies, and short-term profits; this project argues that it is transforming cultural production into a highly consolidated industry with rising inequality, further decreasing the diversity and heterogeneity it could provide the public sphere. In addition to charting this historical and industrial shift, this project analyzes the corresponding textual transformation, in which cultural products behave according to financial logic, becoming sites of capital formation where references, homages, and product placements form internal economies. The concept of ‘derivative media’ I employ to capture this phenomenon contains a double meaning: ii increasingly, the production process of popular culture ‘derives’ new content from old (sequels, adaptations, franchises, remakes, references, homages, sampling, etc.), just as the economic logic behind contemporary textuality behaves like a ‘derivative,’ a financial instrument to hedge risk.