Outside the Hit Factory: the Playlist
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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. -
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. -
An Incredible New Sound for Engineers
An Incredible New Sound for Engineers Bruce Swedien comments on the recording techniques and production HIStory of Michael Jackson's latest album by Daniel Sweeney "HIStory" In The Making Increasingly, the launch of a new Michael Jackson collection has taken on the dimensions of a world event. Lest this be doubted, the videos promoting the King of Pop's latest effort, "HIStory", depict him with patently obvious symbolism as a commander of armies presiding over monster rallies of impassioned followers. But whatever one makes of hoopla surrounding the album, one can scarcely ignore its amazing production values and the skill with which truly vast musical resources have been brought to bear upon the project. Where most popular music makes do with the sparse instrumentation of a working band fleshed out with a bit of synth, "HIStory" brings together such renowned studio musicians and production talents as Slash, Steve Porcaro, Jimmy Jam, Nile Rodgers, plus a full sixty piece symphony orchestra, several choirs including the Andrae Crouch Singers, star vocalists such as sister Janet Jackson and Boys II Men, and the arrangements of Quincy Jones and Jeremy Lubbock. Indeed, the sheer richness of the instrumental and vocal scoring is probably unprecedented in the entire realm of popular recording. But the richness extends beyond the mere density of the mix to the overall spatial perspective of the recording. Just as Phil Spector's classic popular recordings of thirty years ago featured a signature "wall of sound" suggesting a large, perhaps overly reverberant recording space, so the recent recordings of Michael Jackson convey a no less distinctive though different sense of deep space-what for want of other words one might deem a "hall of sound". -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
So Go the Ghosts of México, Part One
so go the ghosts of méxico, part one by Matthew Paul Olmos Contact: Leah Hamos The Gersh Agency 41 Madison Avenue, 33 rd Floor, New York, NY 10010 212.917.1818 [email protected] i part I a brave woman in méxico the people a brave woman in méxico the police chief the husband el morete güero a place méxico, present day Spanish translation by Mariana Carreño King ii the beginning an emptying dirt and gravel parking lot: vacant spaces and cars-recently-left surrounded by cars-abandoned-who- the-fuck-knows. MARI and HUSBAND fuck in an emptied car. HUSBAND Lemme just— MARI Yea, I know, it’s— HUSBAND You’re on my— MARI I’m trying to— HUSBAND Will you get…over— MARI I don’t want be…over, I wanna be right…on…this… HUSBAND Fine then lift your— MARI I can’t, you go around— HUSBAND Mari, I can’t keep it in if I can’t— MARI You’re a man, if there’s a way to keep it in, you will. (HUSBAND tries a different approach; they find a rhythm) HUSBAND See that. Lookit us— MARI Will you/just— HUSBAND See how we can be— 1 MARI No words. (Just as HUSBAND feels in synch, MARI pulls off. On their separation, we hear a breaking of static; they both notice, but think nothing of it) HUSBAND Okay… MARI This isn’t— HUSBAND Wow. I know that look. MARI I’m not looking at you, I’m just— HUSBAND What? (pause) Say it. MARI Tomorrow. -
Dramaturg As Artistic Instigator Megan J
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2012 Dramaturg as Artistic Instigator Megan J. Mcclain University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Other Theatre and Performance Studies Commons, and the Playwriting Commons Mcclain, Megan J., "Dramaturg as Artistic Instigator" (2012). Masters Theses 1911 - February 2014. 880. Retrieved from https://scholarworks.umass.edu/theses/880 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. DRAMATURG AS ARTISTIC INSTIGATOR A Thesis Presented by MEGAN J. MCCLAIN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS May 2012 Theatre © Copyright by Megan J. McClain 2012 All Rights Reserved DRAMATURG AS ARTISTIC INSTIGATOR A Thesis Presented By MEGAN J. MCCLAIN Approved as to style and content by: ___________________________________________________ Harley Erdman, Chair ___________________________________________________ Regina Kaufmann, Member ___________________________________________________ Priscilla Page, Member ___________________________________________________ Daniel Sack, Member ________________________________________________ Penny Remsen, Department Chair Department of Theater DEDICATION To my family for their unconditional support, and to all those theatre artists (dramaturgs and otherwise) who are inspired to instigate and dare to devise. ACKNOWLEDGMENTS I would like to thank my thesis chair, Harley Erdman, for his indefatigable support, dramaturgical wisdom, and immense kindness. I offer my gratitude to Gina Kaufmann for her probing questions and open collaborative spirit. -
The Very Thought of Long Beach, CA Immediately Brings O.G. Culture to Mind
The very thought of Long Beach, CA immediately brings O.G. culture to mind. You can practically see those classic Snoop Dogg and Warren G videos on repeat at the mention of the city. For as inextricably connected to West Coast hip-hop as the LBC may be, it gives rise to a fresh and fiery voice for soul in Giveon. With nearly half-a-million independent streams to his credit and acclaim by everyone from Flaunt to HotNewHipHop, the Long Beach-born singer and songwriter infuses Rat Pack-style classiness into modern R&B. “It’s a different perspective,” he explains. “There’s soul to it. There’s pop to it. However, I want to speak on relatable things everybody thinks about but nobody says—in a classy way. The goal is just to be Giveon.” One of three brothers raised by a single mother, he gravitated towards music at a young age. He initially found inspiration in Frank Ocean and Miguel between performing at school functions. As he recalls, “Mom did a really good job of sheltering us, so we didn’t fall into what was going on outside like the gang culture and poverty.” Attending a GRAMMY® Academy program at eighteen proved transformative as the instructor implored him to perform Frank Sinatra’s “Fly Me To The Moon” for a project. “I had an epiphany after initially hearing Sinatra,” he says. “It was the very first time I heard a baritone singer. I got into Bobby Caldwell and Barry White from there. I realized my tone at this point.” Developing his own baritone delivery, he caught the attention of another Long Beach local and multiplatinum singer and songwriter AUGUST 08 [DJ Khaled, Justin Bieber] who served as an initial mentor. -
8123 Songs, 21 Days, 63.83 GB
Page 1 of 247 Music 8123 songs, 21 days, 63.83 GB Name Artist The A Team Ed Sheeran A-List (Radio Edit) XMIXR Sisqo feat. Waka Flocka Flame A.D.I.D.A.S. (Clean Edit) Killer Mike ft Big Boi Aaroma (Bonus Version) Pru About A Girl The Academy Is... About The Money (Radio Edit) XMIXR T.I. feat. Young Thug About The Money (Remix) (Radio Edit) XMIXR T.I. feat. Young Thug, Lil Wayne & Jeezy About Us [Pop Edit] Brooke Hogan ft. Paul Wall Absolute Zero (Radio Edit) XMIXR Stone Sour Absolutely (Story Of A Girl) Ninedays Absolution Calling (Radio Edit) XMIXR Incubus Acapella Karmin Acapella Kelis Acapella (Radio Edit) XMIXR Karmin Accidentally in Love Counting Crows According To You (Top 40 Edit) Orianthi Act Right (Promo Only Clean Edit) Yo Gotti Feat. Young Jeezy & YG Act Right (Radio Edit) XMIXR Yo Gotti ft Jeezy & YG Actin Crazy (Radio Edit) XMIXR Action Bronson Actin' Up (Clean) Wale & Meek Mill f./French Montana Actin' Up (Radio Edit) XMIXR Wale & Meek Mill ft French Montana Action Man Hafdís Huld Addicted Ace Young Addicted Enrique Iglsias Addicted Saving abel Addicted Simple Plan Addicted To Bass Puretone Addicted To Pain (Radio Edit) XMIXR Alter Bridge Addicted To You (Radio Edit) XMIXR Avicii Addiction Ryan Leslie Feat. Cassie & Fabolous Music Page 2 of 247 Name Artist Addresses (Radio Edit) XMIXR T.I. Adore You (Radio Edit) XMIXR Miley Cyrus Adorn Miguel Adorn Miguel Adorn (Radio Edit) XMIXR Miguel Adorn (Remix) Miguel f./Wiz Khalifa Adorn (Remix) (Radio Edit) XMIXR Miguel ft Wiz Khalifa Adrenaline (Radio Edit) XMIXR Shinedown Adrienne Calling, The Adult Swim (Radio Edit) XMIXR DJ Spinking feat. -
Mediamonkey Filelist
MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the -
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. -
Triller Network Acquires Verzuz: Exclusive
BILLBOARD COUNTRY UPDATE APRIL 13, 2020 | PAGE 4 OF 19 ON THE CHARTS JIM ASKER [email protected] Bulletin SamHunt’s Southside Rules Top Country YOURAlbu DAILYms; BrettENTERTAINMENT Young ‘Catc NEWSh UPDATE’-es Fifth AirplayMARCH 9, 2021 Page 1 of 25 Leader; Travis Denning Makes History INSIDE Triller Network Acquires Sam Hunt’s second studio full-length, and first in over five years, Southside sales (up 21%) in the tracking week. On Country Airplay, it hops 18-15 (11.9 mil- (MCA Nashville/Universal Music Group Nashville), debuts at No. 1 on Billboard’s lion audience impressions, up 16%). Top Country• Verzuz Albums Founders chart dated April 18. In its first week (endingVerzuz: April 9), it Exclusive earnedSwizz 46,000 Beatz equivalent & album units, including 16,000 in album sales, ac- TRY TO ‘CATCH’ UP WITH YOUNG Brett Youngachieves his fifth consecutive cordingTimbaland to Nielsen Talk Music/MRC Data. andBY total GAIL Country MITCHELL Airplay No. 1 as “Catch” (Big Machine Label Group) ascends SouthsideTriller Partnership: marks Hunt’s second No. 1 on the 2-1, increasing 13% to 36.6 million impressions. chart‘This and fourthPuts a top Light 10. It followsVerzuz, freshman the LPpopular livestream music platform creat- in music todayYoung’s than Verzuz,” first of six said chart Bobby entries, Sarnevesht “Sleep With,- MontevalloBack on, which Creatives’ arrived at theed summit by Swizz in No Beatz- and Timbaland, has been acquired executive chairmanout You,” andreached co-owner No. 2 in of December Triller, in 2016. an- He vember 2014 and reigned for nineby weeks. Triller To Network, date, parent company of the Triller app.