Pandora Predicted to 'Dominate' Web Radio for Next Few Years
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Coat Drive Report 2016 Th Is Year, the Coat D Rive Goes Mobile
Coat Drive This year, the Report 2016 Coat Drive goes mobile. Text COAT to Just buys a new coat for a New Yorker in need. Table of Contents The Coat Drive Goes Mobile 4 Coat Drive Champions 6 Coat Drive Media and Press 8 Shifting the Coat Drive Call to Action 9 Financial Supporters 12 Collection Partners 24 Recipient Agencies 34 New York Cares York New Coat Drive Report 2016 3 The Coat Drive Goes Mobile Thanks to the generosity and compassion of “The need in our city is simply More than 1,400 companies, civic groups, and thousands of New Yorkers, New York Cares individuals also stepped up this year to deliver collected and distributed 109,213 winter coats enormous, and we developed the gently used coats through their own private during the 28th Annual Coat Drive. This year’s text option to cast a wider net collection efforts. When combined with the coats numbers broke collection records as a new mobile dropped off at our 300 public collection sites, these donation option and increased participation and engage more New Yorkers groups delivered 78,000 coats in 2016. from companies and civic groups delivered than ever. We understand that unprecedented warmth across the city. With homelessness in New York City reaching near- not everyone has an extra coat at record highs and the rising cost-of-living pushing In 2016, for the first time, New York Cares made it home to donate or can make it to more residents below the poverty line, requests possible to give a coat via a simple text message. -
At Girl Scouts' HQ, the Cookies Are Crumbling
REPORT REAL ESTATE Partnering on big deals pays off in a big way CRAIN’S® PAGE 13 NEW YORK BUSINESS VOL. XXIX, NO. 20 WWW.CRAINSNEWYORK.COM MAY 20-26, 2013 PRICE: $3.00 Wyckoff Heights engineers comeback In 17-month drama, CEO leads Brooklyn hospital from $17M hole to $2M profit BY BARBARA BENSON On Christmas weekend of 2011, the board of trustees at Wyckoff Heights Medical Center fired its chief execu- tive and replaced him with a former parole-board chairman as part of a bold plan to avoid a forced merger with two local hospitals. Since the end of that year,when the Brooklyn-based hospital lost $16.7 million, Wyckoff has not lacked for drama. The new CEO,Ramon Rodriguez, See WYCKOFF on Page 24 Who’s At Girl Scouts’ HQ, the ahead? Do the math cookies are crumbling The mayoral race is New leadership makes waves as pension debt forces change now a numbers game of money, polls, votes The Twists and Turns ofGetting Along. an organization last month called BY THERESA AGOVINO Maybe the books should be re- The Future Is Ours that’s publicly BY ANDREW J. HAWKINS quired reading for Girl Scouts exec- -20% pressuring for change. The Girl Scouts of the USA store at utives. The leadership at the 101- DROP IN GIRL Yet the executive brought in at the With the mayoral primary a little more its Fifth Avenue headquarters offers year-old organization faces a pile-on SCOUTS end of 2011 to transform the Girl than 100 days away, the Democratic a book series carrying the tagline, of challenges that include steadily MEMBERSHIP Scouts has earned mixed reviews.Last candidates are crunching the numbers “It’s your world—change it! A Lead- declining membership, an enormous in the past 10 month, the Advertising Women of that they’ll need to get to City Hall: ership Journey.”Their colorful covers pension deficit and infighting at years New York honored Girl Scouts CEO money, poll support and, of course, beckon with titles like An Agent of some local offices. -
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 -
Fashion Imagery and the Construction of Masculinity in America, 1960-2000
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2014 The Fashionable Life: Fashion Imagery and the Construction of Masculinity in America, 1960-2000 Kelly Ann O'connor Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the History of Gender Commons Recommended Citation O'connor, Kelly Ann, "The Fashionable Life: Fashion Imagery and the Construction of Masculinity in America, 1960-2000" (2014). Dissertations. 907. https://ecommons.luc.edu/luc_diss/907 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2014 Kelly Ann O'connor LOYOLA UNIVERSITY CHICAGO THE FASHIONABLE LIFE: FASHION IMAGERY AND THE CONSTRUCTION OF MASCULINITY IN AMERICA, 1960-2000 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN HISTORY BY KELLY A. O’CONNOR CHICAGO, ILLINOIS MAY 2014 Copyright by Kelly A. O’Connor, 2014 All rights reserved. ACKNOWLEDGMENTS The completion of this dissertation was a long, yet satisfying process. There are many institutions and individuals that need to be recognized and thanked for their efforts in making this dissertation possible. I would like to first acknowledge the Graduate School at Loyola University Chicago for their generous financial support in bestowing me with the Teaching Scholar Award, Advanced Doctoral Fellowship, and Arthur J. -
''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. -
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. -
The Black Woman That Media Built: Content Creation, Interpretation, and the Making of the Black Female Self
The Black Woman that Media Built: Content Creation, Interpretation, and the Making of the Black Female Self by Timeka Nicol Tounsel A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Communication) in the University of Michigan 2015 Doctoral Committee: Associate Professor Robin R. Means Coleman, Chair Assistant Professor Shazia Iftkhar Professor Gerald P. Scannell Associate Professor Megan L. Sweeney © Timeka Nicol Tounsel 2015 For the women who shared their testimonies, and to those who dare to listen ii ACKNOWLEDGEMENTS So many times throughout this project I came to the end of myself. Without the people and institutions who stepped in to offer support during those times this dissertation would not have been completed. I would not have known the beauty of producing a project of the heart without the constant encouragement, guidance, and mentorship of my advisor Robin Means Coleman. Many thanks to the faculty, staff, and students who pitched in as editors, writing partners, cheerleaders, confidants, and sources of inspiration during the past five years, especially Brandi Hughes, Xiomara Santamarina, and Janice Hamlet. Thank you to the Communication Studies Department and the Black Humanities Collective who make Michigan a great place to do research. Many thanks to Megan Sweeney and Shazia Iftkhar who reminded me of the importance of asserting my voice in my research, to Paddy Scannell who supported the project throughout the long journey of refinement, to Tasha Brown, Kyera Singleton and Katrina Ellis who provided the sisterly support that every scholar needs, to Katherine Weathers who gave me a happy place on campus to retreat to, and to Janis Mayes who helped me see myself as a scholar. -
Taylor Swift
Taylor Swift Taylor Swift Swift performing in St. Louis, Missouri, during the 2013 Red Tour Background information Birth name Taylor Alison Swift Born December 13, 1989 (age 25) Reading, Pennsylvania, U.S. Country Genres pop pop rock Singer-songwriter Occupation(s) record producer actress philanthropist Vocals Instruments guitar banjo ukulele piano Years active 2004–present Labels Big Machine Website taylorswift.com Taylor Alison Swift (born December 13, 1989) is an American singer-songwriter. Raised in Wyomissing, Pennsylvania, Swift moved to Nashville, Tennessee, at the age of 14 to pursue a career in country music. She signed with the independent label Big Machine Records and became the youngest songwriter ever hired by the Sony/ATV Music publishing house. The release of Swift's self-titled debut album in 2006 established her as a country music star. Her third single, "Our Song," made her the youngest person to single-handedly write and perform a number-one song on the Hot Country Songs chart. She received a Best New Artist nomination at the2008 Grammy Awards. Swift's second album, Fearless, was released in 2008. Buoyed by the pop crossover success of the singles "Love Story" and "You Belong with Me," Fearless became the best-selling album of 2009 in the United States. The album won four Grammy Awards, with Swift becoming the youngest ever Album of the Year winner. Swift's third and fourth albums, 2010's Speak Now and 2012's Red, both sold over one million copies within the first week of their U.S release. Speak Now won two Grammy Awards, while Red's singles "We Are Never Ever Getting Back Together" and "I Knew You Were Trouble" were worldwide hits.