This document discusses how social media has impacted the music industry. It has shifted power from record labels to artists and fans, as social media allows independent artists to self-publish their music online. Artists can now bypass record labels and use platforms like YouTube, Facebook and Spotify to reach audiences. The document also examines how social media has affected copyright infringement, and how companies like Spotify are generating revenue from legal streaming. Overall, social media has given more power to artists and transformed the music industry.
Music videos first emerged in the 1920s as promotional films for songs. The earliest known music video was Bessie Smith's "St. Louis Blues" from 1929, which simply filmed her singing. In the 1980s, MTV launched and began heavily promoting music videos, encouraging artists to create promotional short films with storylines and visuals to market their music. Michael Jackson's "Billie Jean" from 1983 was pioneering in integrating complex dance moves and plot into a music video. Today, social media platforms like YouTube have become major promotional tools, allowing unknown artists to gain exposure by uploading videos for viewers worldwide. Advancing camera and editing technologies continue to enhance music videos' production quality and artistic expression.
Music videos first emerged in the 1920s as promotional films for songs. They gained widespread popularity in the 1980s with the launch of MTV, which gave artists a platform to promote their music visually. Michael Jackson's "Billie Jean" video, with its storyline and special effects, set a new standard. Today, social media platforms like YouTube allow unknown artists to self-promote, while all artists can interact directly with fans online. Advancing camera and editing technologies have made high-quality music videos more accessible.
Music videos first emerged in the 1920s as a way to promote music recordings. The first music video was Bessie Smith's "St. Louis Blues" in 1929, which was simply a recording of her performance. It wasn't until the 1980s that music videos evolved into a true art form with the emergence of MTV and artists like Michael Jackson using them to tell stories and sell records. Today, social media platforms like YouTube have become major promotional tools, allowing both unknown and famous artists to share music videos globally and find new audiences. Advances in digital technology also continue to impact music videos by democratizing production and allowing for higher production quality.
Music videos were first created in the 1920s as promotional films for songs but gained widespread popularity with the founding of MTV in 1981. MTV was the first channel dedicated solely to music videos and gave artists a new way to promote their music visually. As technology advanced, music videos incorporated special effects, storylines, and artistic elements. The rise of social media in the 2000s, such as YouTube, further expanded opportunities for artists to self-promote and find new audiences online. Music videos now play a major role in the music industry across television, the internet, and social media.
How has you tube, vimeo and social media effected the music industry 07adanmu
YouTube and social media have significantly impacted the music industry by changing how music is produced, promoted, shared, and consumed. Digital downloads and streaming have largely replaced CDs as the primary means of accessing music. YouTube and other sites allow artists to self-promote and find audiences without traditional industry support, and social media has become a key tool for viral promotion and word-of-mouth growth of artist fanbases. Television channels like MTV have declined as YouTube and the internet deliver music videos on demand to a much larger global audience.
Music videos first emerged in the 1980s when MTV began playing them, though proto-music videos existed earlier. They became a major marketing tool for music recordings. In the 1990s, the popularity of videos grew due to the success of artists like Michael Jackson and the introduction of music video awards shows. Today, music videos are viewed billions of times per month online and on various platforms like smartphones and tablets.
1) Music videos for older bands like Pink Floyd primarily serve promotional purposes rather than making money from platforms like YouTube, due to their target audience and era.
2) Pink Floyd earns income from album and song sales on iTunes, Amazon MP3, and in stores rather than social media, due to being from an earlier time before social media revenue models.
3) Fan uploads of Pink Floyd's music on YouTube help promote the band to new, younger audiences who may purchase albums, extending the band's reach to new outlets and fans internationally.
The document analyzes the purposes and benefits of music videos for artists and their target audiences. It discusses how music videos can be used to promote artists and their new music or albums. Videos posted to sites like YouTube can generate hundreds of millions of views, exposing the artist's music and brand to a huge audience. This widespread promotion can translate into increased music and merchandise sales. The document also explores how artists can extend their income sources through avenues like YouTube advertising, physical and digital music sales, and merchandise when applicable. Music videos provide valuable outlets to reach fans old and new across multiple online platforms.
Music videos first emerged in the 1920s as promotional films for songs. The earliest known music video was Bessie Smith's "St. Louis Blues" from 1929, which simply filmed her singing. In the 1980s, MTV launched and began heavily promoting music videos, encouraging artists to create promotional short films with storylines and visuals to market their music. Michael Jackson's "Billie Jean" from 1983 was pioneering in integrating complex dance moves and plot into a music video. Today, social media platforms like YouTube have become major promotional tools, allowing unknown artists to gain exposure by uploading videos for viewers worldwide. Advancing camera and editing technologies continue to enhance music videos' production quality and artistic expression.
Music videos first emerged in the 1920s as promotional films for songs. They gained widespread popularity in the 1980s with the launch of MTV, which gave artists a platform to promote their music visually. Michael Jackson's "Billie Jean" video, with its storyline and special effects, set a new standard. Today, social media platforms like YouTube allow unknown artists to self-promote, while all artists can interact directly with fans online. Advancing camera and editing technologies have made high-quality music videos more accessible.
Music videos first emerged in the 1920s as a way to promote music recordings. The first music video was Bessie Smith's "St. Louis Blues" in 1929, which was simply a recording of her performance. It wasn't until the 1980s that music videos evolved into a true art form with the emergence of MTV and artists like Michael Jackson using them to tell stories and sell records. Today, social media platforms like YouTube have become major promotional tools, allowing both unknown and famous artists to share music videos globally and find new audiences. Advances in digital technology also continue to impact music videos by democratizing production and allowing for higher production quality.
Music videos were first created in the 1920s as promotional films for songs but gained widespread popularity with the founding of MTV in 1981. MTV was the first channel dedicated solely to music videos and gave artists a new way to promote their music visually. As technology advanced, music videos incorporated special effects, storylines, and artistic elements. The rise of social media in the 2000s, such as YouTube, further expanded opportunities for artists to self-promote and find new audiences online. Music videos now play a major role in the music industry across television, the internet, and social media.
How has you tube, vimeo and social media effected the music industry 07adanmu
YouTube and social media have significantly impacted the music industry by changing how music is produced, promoted, shared, and consumed. Digital downloads and streaming have largely replaced CDs as the primary means of accessing music. YouTube and other sites allow artists to self-promote and find audiences without traditional industry support, and social media has become a key tool for viral promotion and word-of-mouth growth of artist fanbases. Television channels like MTV have declined as YouTube and the internet deliver music videos on demand to a much larger global audience.
Music videos first emerged in the 1980s when MTV began playing them, though proto-music videos existed earlier. They became a major marketing tool for music recordings. In the 1990s, the popularity of videos grew due to the success of artists like Michael Jackson and the introduction of music video awards shows. Today, music videos are viewed billions of times per month online and on various platforms like smartphones and tablets.
1) Music videos for older bands like Pink Floyd primarily serve promotional purposes rather than making money from platforms like YouTube, due to their target audience and era.
2) Pink Floyd earns income from album and song sales on iTunes, Amazon MP3, and in stores rather than social media, due to being from an earlier time before social media revenue models.
3) Fan uploads of Pink Floyd's music on YouTube help promote the band to new, younger audiences who may purchase albums, extending the band's reach to new outlets and fans internationally.
The document analyzes the purposes and benefits of music videos for artists and their target audiences. It discusses how music videos can be used to promote artists and their new music or albums. Videos posted to sites like YouTube can generate hundreds of millions of views, exposing the artist's music and brand to a huge audience. This widespread promotion can translate into increased music and merchandise sales. The document also explores how artists can extend their income sources through avenues like YouTube advertising, physical and digital music sales, and merchandise when applicable. Music videos provide valuable outlets to reach fans old and new across multiple online platforms.
This document discusses the history and conventions of music videos. It explains that music videos first emerged in the 1920s but became more prominent with advances in video recording technology. Key developments included Bob Dylan's 1965 video and the rise of MTV in the 1970s. The document also outlines some common technical codes in music videos like camerawork, editing, and visual effects. Finally, it examines how music videos draw from other media like film, television, art, photography, and fashion through intertextuality.
Jack Ellingham: alternative music analysisellingham96
Alternative music originated in the late 1970s with bands like Pink Floyd influencing the genre of alternative rock. Subgenres like prog rock and glam rock emerged from alternative rock. Artists like David Bowie made alternative music more fashionable.
While alternative music was originally considered non-mainstream, bands like Fleetwood Mac helped popularize the genre by making their music more accessible to mainstream audiences. Advances in technology like the internet have also allowed alternative music to reach wider audiences. Artists are now able to self-produce and distribute their music online.
Television shows that allow audiences to vote on musical talent, like The Voice, have also helped change alternative music by focusing more on the music itself rather than the artists'
The document discusses how technology has made the relationship between artists and record labels almost unnecessary, as it is now easier for independent artists to upload their music online and build an audience without a label. While record labels provide benefits like marketing, distribution and access to expensive production resources, they also influence the music produced and can limit an artist's creative freedom. As a result, some artists like Ed Sheeran and Ludacris have gained mainstream success through independent releases online before signing with major labels.
Streaming music videos became popular in the 1970s through various genres and mediums. Disco music dominated the decade, popularized by songs from artists like Donna Summer and movies like Saturday Night Fever. Hip hop also emerged and spread through block parties in New York, providing a voice for disenfranchised youth. By the late 1970s, hip hop songs like "Rapper's Delight" helped expand its audience. Overall, music was mainly experienced through radio and albums/tapes, while genres like disco, soul, and rock all saw widespread popularity during this period.
Streaming music videos means that music videos are now targeting niche audiences through the internet. This allows music videos to be more unique and push boundaries, as they no longer need wide appeal. Zoe Keating is an example of a non-mainstream artist who uses streaming services like Spotify to target audiences interested in her genre of contemporary classical and cello rock. Streaming gives control over music distribution to audiences rather than record labels, as people can now access any music video online through websites like YouTube.
Music videos began as a way for artists like Elvis and The Beatles to promote themselves through films in the 1950s-60s. The first true music video was Queen's "Bohemian Rhapsody" in 1975, setting conventions like lighting effects and editing to the beat. Michael Jackson's "Thriller" video in 1983 with its complex narrative and production values was hugely influential. Today, music videos are often shared online through platforms like YouTube, gaining millions of views, while still incorporating conventions established by early pioneers.
Music videos are primarily made and used as a marketing device to promote the sale of music. They allow artists to engage audiences with the song's meaning and narrative. Having an online presence through YouTube is important for widening an artist's audience and exposure. Successful music videos like Beyonce's "Crazy in Love" and Justin Bieber's "Baby" helped propel their songs to commercial success through compelling visuals and viral popularity online. Creative music videos that entertain, educate, or inform audiences are important for convincing people to purchase and support an artist's music.
The document provides an overview of the history and development of music videos. It discusses how music videos started in the 1980s with the rise of MTV and have since evolved to include various techniques like animation, documentaries, and abstract film. Music videos serve several purposes like promoting artists and songs to generate more sales and publicity. They can also expand the income from songs through DVD/CD sales and partnerships with other companies. The styles of music videos vary widely depending on the genre of music and the vision of the artist and producer. Techniques discussed include narratives, live footage, animation, and parodies. Censorship also plays a key role in determining what content is appropriate for music channels.
Music videos serve several purposes including marketing songs and artists to promote music sales. They keep artists in the public eye for longer which can boost album sales months after release. Music videos also allow artists to creatively express themselves and provide fans insight into the meaning of songs. They can further showcase other talents of artists like Michael Jackson's dancing in "Thriller".
Music videos first became popular in the 1980s with the creation of MTV, which based its format around music videos. Before then, they were simple promotional clips. Michael Jackson's "Thriller" in 1983 was hugely successful and helped establish the music video as an art form. In the past, music videos were largely controlled by directors and record labels, but now artists are taking more control over the concept and vision for their videos. New technologies like YouTube have increased the importance of music videos by allowing audiences to watch them anytime online and demand higher production quality from artists.
Music videos serve several purposes for artists and the music industry. They are primarily a marketing tool used to promote songs and albums and generate buzz among audiences. This helps drive music sales and keeps artists relevant for longer periods of time. Music videos also allow artists to creatively express themselves and provide insight into the meaning of their songs. Certain artists, like Michael Jackson, have used music videos as a way to showcase other talents like dancing. The development of MTV in 1981 greatly increased exposure for music videos and their role in music promotion and fandom.
The history of music videos spans from 1900 to present day. Early music videos originated from musical short films produced in the 1920s-1940s. The 1950s saw a rise in popularity of music films and videos aired on television contributed to the growth of the genre. In the 1960s-1970s, artists like The Beatles produced highly influential and complex music videos. The introduction of MTV in 1981 was a major development that shifted the music industry's focus towards visual media and music videos. Technologies improved video production quality throughout the 1980s. Into the 2000s, the rise of online platforms like YouTube further increased access to music videos worldwide.
This document provides information about music videos, including their history and conventions. Some key points:
- Music videos have been around since the 1920s but became more prominent in the 1970s/80s with the rise of MTV.
- Andrew Goodwin's theory identifies characteristics of music videos like demonstrating genre traits, relating lyrics/music to visuals, and referencing notions of looking.
- Intertextuality, or borrowing from other media, is common in music videos, with references to cinema, television, photography, and video games.
- Technical codes like camerawork, editing, and effects are analyzed to understand how they impact meaning.
- Directors like David Fincher and Spike Jonze got their start
Your Life Is A Transmedia Experience - vote for this panel at SXSWinteractive...socialcreature
The human brain is hard-wired for narrative construction. Today, “transmedia” is the latest marketing buzzword, but it’s not just how we consume entertainment narratives. With every status update, photo upload, location check-in, and “like,” it’s how we experience the narrative of our lives. We will dive into cutting-edge transmedia applications and approaches, and you’ll walk away with a unique, new perspective on how to create not just a captivating transmedia narrative, but a culture-defining experience.
Vote here: http://panelpicker.sxsw.com/ideas/view/7292
This document contains summaries of 14 sources related to media and conservation efforts. The sources include scholarly articles, websites, textbooks, and news articles that discuss topics such as how different types of media (e.g. social media, films) are used to raise awareness and influence conservation efforts for wildlife and ecosystems. Many of the sources present research findings that demonstrate how media portrayals can shape public perceptions in ways that impact support for conservation initiatives.
DigiMediaL_musik - Wie Musiker_innen erfolgreich im Social Web kommunizieren. Matthias Krebs
Wer heute professionell Musik macht, ist auch eigener PR-Manager: Social Media wie Facebook und Soundcloud geben den Musikschaffenden eine Plattform, nicht nur für die Musik, sondern auch die eigene Person. Wie können Künstler_innen die perfekte Social Media Plattform für ihre Kommunikation finden?
Das Referat soll Musiker_innen eine Orientierung rund um die Bedingungen der Online-Kommunikation im Social Web bieten. Fallbeispiele sollen darüber hinaus für eigene Versuche inspirieren und motivieren.
Daneben soll das Referat Musikmanager_innen dazu verhelfen, Musiker_innen besser in Bezug auf ihre Aktivitäten im Social Web zu verstehen. Es werden Methoden und Maßnahmen aufgezeigt, die Künstler_innen dabei unterstützen können, das Social Web zu nutzen und die Grundlagen dafür schaffen können, dass sich Künstler_innen effektiver darin bewegen.
Musik in sozialen Netzwerken (Social Media Week Hamburg 2012)Matthias Krebs
Produzieren & Teilen: Musik in den sozialen Netzwerken
Es existieren Musikplattformen im Internet, die kreative Musikgestaltung im engeren Sinne zulassen. D.h., man kann heute ueber den Browser direkt Musik machen und dies haeufig sogar gemeinsam tun. Beispiele sind das Notensatzprogramm -Noteflight- (www.noteflight.com) oder das einfache Soundtoy -iNudge- (www.inudge.net) oder das DJ-Programm -audiotool- (http://www.audiotool.com) und es gibt eine grosse Zahl mehr. Von besonderem Interesse sind solche Musikplattformen, die dadurch kennzeichnet sind, dass die Beziehungen innerhalb von Nutzergruppen hoechste Prioritaet haben.
* Was taugt das Internet zum Musik machen? Spielt jeder nur fuer sich allein am Bildschirm? Welche neuen Formen des Gemeinsamen entwickeln sich?
* Welche Medientrends koennen beobachtet werden, die durch die zunehmende Digitalisierung unseres Alltags an Bedeutung gewinnen?
* Wie gestalten sich aktuelle und zukuenftige Musikpraktiken von Kindern und Jugendlichen mit diesem Medium?
Autor: Matthias Krebs
Für Musikerinnen und Musiker gibt es mittlerweile zahlreiche nützliche Apps, die nicht nur als Hilfsmittel den Musikeralltag erleichtern, sondern auch neue kreative Möglichkeiten schaffen: ob zum Musikmachen unterwegs, im Studio, auf der Bühne oder für die gemeinsame Musikproduktion mit Musikerkolleg_innen via Internet.
Darüber hinaus gibt es die Möglichkeit per Baukastenprinzip kostengünstig die eigene App zu erstellen. Als Marketingtool und Absatzkanal erlaubt dies, neue Wege zu gehen, auf denen sich Nutzer von Smartphones und Tablets bereits befinden.
Dieser kurze Impulsvortrag soll eine Orientierung zum Thema liefern.
Salo 2011 bled conference social media in music industryJari Salo
Conference presentation in Bled econference. Presents results of a small study we did in 2008. In the study Social media in the music industry we have both managers and consumers views points.
The four most popular and modern methods for music marketing.
How the rise of social media and YouTube has helped music marketing and replaced traditional marketing methods.
For A2 Media Studies - looking at the music industry and Music Videos.
This document discusses the history and conventions of music videos. It explains that music videos first emerged in the 1920s but became more prominent with advances in video recording technology. Key developments included Bob Dylan's 1965 video and the rise of MTV in the 1970s. The document also outlines some common technical codes in music videos like camerawork, editing, and visual effects. Finally, it examines how music videos draw from other media like film, television, art, photography, and fashion through intertextuality.
Jack Ellingham: alternative music analysisellingham96
Alternative music originated in the late 1970s with bands like Pink Floyd influencing the genre of alternative rock. Subgenres like prog rock and glam rock emerged from alternative rock. Artists like David Bowie made alternative music more fashionable.
While alternative music was originally considered non-mainstream, bands like Fleetwood Mac helped popularize the genre by making their music more accessible to mainstream audiences. Advances in technology like the internet have also allowed alternative music to reach wider audiences. Artists are now able to self-produce and distribute their music online.
Television shows that allow audiences to vote on musical talent, like The Voice, have also helped change alternative music by focusing more on the music itself rather than the artists'
The document discusses how technology has made the relationship between artists and record labels almost unnecessary, as it is now easier for independent artists to upload their music online and build an audience without a label. While record labels provide benefits like marketing, distribution and access to expensive production resources, they also influence the music produced and can limit an artist's creative freedom. As a result, some artists like Ed Sheeran and Ludacris have gained mainstream success through independent releases online before signing with major labels.
Streaming music videos became popular in the 1970s through various genres and mediums. Disco music dominated the decade, popularized by songs from artists like Donna Summer and movies like Saturday Night Fever. Hip hop also emerged and spread through block parties in New York, providing a voice for disenfranchised youth. By the late 1970s, hip hop songs like "Rapper's Delight" helped expand its audience. Overall, music was mainly experienced through radio and albums/tapes, while genres like disco, soul, and rock all saw widespread popularity during this period.
Streaming music videos means that music videos are now targeting niche audiences through the internet. This allows music videos to be more unique and push boundaries, as they no longer need wide appeal. Zoe Keating is an example of a non-mainstream artist who uses streaming services like Spotify to target audiences interested in her genre of contemporary classical and cello rock. Streaming gives control over music distribution to audiences rather than record labels, as people can now access any music video online through websites like YouTube.
Music videos began as a way for artists like Elvis and The Beatles to promote themselves through films in the 1950s-60s. The first true music video was Queen's "Bohemian Rhapsody" in 1975, setting conventions like lighting effects and editing to the beat. Michael Jackson's "Thriller" video in 1983 with its complex narrative and production values was hugely influential. Today, music videos are often shared online through platforms like YouTube, gaining millions of views, while still incorporating conventions established by early pioneers.
Music videos are primarily made and used as a marketing device to promote the sale of music. They allow artists to engage audiences with the song's meaning and narrative. Having an online presence through YouTube is important for widening an artist's audience and exposure. Successful music videos like Beyonce's "Crazy in Love" and Justin Bieber's "Baby" helped propel their songs to commercial success through compelling visuals and viral popularity online. Creative music videos that entertain, educate, or inform audiences are important for convincing people to purchase and support an artist's music.
The document provides an overview of the history and development of music videos. It discusses how music videos started in the 1980s with the rise of MTV and have since evolved to include various techniques like animation, documentaries, and abstract film. Music videos serve several purposes like promoting artists and songs to generate more sales and publicity. They can also expand the income from songs through DVD/CD sales and partnerships with other companies. The styles of music videos vary widely depending on the genre of music and the vision of the artist and producer. Techniques discussed include narratives, live footage, animation, and parodies. Censorship also plays a key role in determining what content is appropriate for music channels.
Music videos serve several purposes including marketing songs and artists to promote music sales. They keep artists in the public eye for longer which can boost album sales months after release. Music videos also allow artists to creatively express themselves and provide fans insight into the meaning of songs. They can further showcase other talents of artists like Michael Jackson's dancing in "Thriller".
Music videos first became popular in the 1980s with the creation of MTV, which based its format around music videos. Before then, they were simple promotional clips. Michael Jackson's "Thriller" in 1983 was hugely successful and helped establish the music video as an art form. In the past, music videos were largely controlled by directors and record labels, but now artists are taking more control over the concept and vision for their videos. New technologies like YouTube have increased the importance of music videos by allowing audiences to watch them anytime online and demand higher production quality from artists.
Music videos serve several purposes for artists and the music industry. They are primarily a marketing tool used to promote songs and albums and generate buzz among audiences. This helps drive music sales and keeps artists relevant for longer periods of time. Music videos also allow artists to creatively express themselves and provide insight into the meaning of their songs. Certain artists, like Michael Jackson, have used music videos as a way to showcase other talents like dancing. The development of MTV in 1981 greatly increased exposure for music videos and their role in music promotion and fandom.
The history of music videos spans from 1900 to present day. Early music videos originated from musical short films produced in the 1920s-1940s. The 1950s saw a rise in popularity of music films and videos aired on television contributed to the growth of the genre. In the 1960s-1970s, artists like The Beatles produced highly influential and complex music videos. The introduction of MTV in 1981 was a major development that shifted the music industry's focus towards visual media and music videos. Technologies improved video production quality throughout the 1980s. Into the 2000s, the rise of online platforms like YouTube further increased access to music videos worldwide.
This document provides information about music videos, including their history and conventions. Some key points:
- Music videos have been around since the 1920s but became more prominent in the 1970s/80s with the rise of MTV.
- Andrew Goodwin's theory identifies characteristics of music videos like demonstrating genre traits, relating lyrics/music to visuals, and referencing notions of looking.
- Intertextuality, or borrowing from other media, is common in music videos, with references to cinema, television, photography, and video games.
- Technical codes like camerawork, editing, and effects are analyzed to understand how they impact meaning.
- Directors like David Fincher and Spike Jonze got their start
Your Life Is A Transmedia Experience - vote for this panel at SXSWinteractive...socialcreature
The human brain is hard-wired for narrative construction. Today, “transmedia” is the latest marketing buzzword, but it’s not just how we consume entertainment narratives. With every status update, photo upload, location check-in, and “like,” it’s how we experience the narrative of our lives. We will dive into cutting-edge transmedia applications and approaches, and you’ll walk away with a unique, new perspective on how to create not just a captivating transmedia narrative, but a culture-defining experience.
Vote here: http://panelpicker.sxsw.com/ideas/view/7292
This document contains summaries of 14 sources related to media and conservation efforts. The sources include scholarly articles, websites, textbooks, and news articles that discuss topics such as how different types of media (e.g. social media, films) are used to raise awareness and influence conservation efforts for wildlife and ecosystems. Many of the sources present research findings that demonstrate how media portrayals can shape public perceptions in ways that impact support for conservation initiatives.
DigiMediaL_musik - Wie Musiker_innen erfolgreich im Social Web kommunizieren. Matthias Krebs
Wer heute professionell Musik macht, ist auch eigener PR-Manager: Social Media wie Facebook und Soundcloud geben den Musikschaffenden eine Plattform, nicht nur für die Musik, sondern auch die eigene Person. Wie können Künstler_innen die perfekte Social Media Plattform für ihre Kommunikation finden?
Das Referat soll Musiker_innen eine Orientierung rund um die Bedingungen der Online-Kommunikation im Social Web bieten. Fallbeispiele sollen darüber hinaus für eigene Versuche inspirieren und motivieren.
Daneben soll das Referat Musikmanager_innen dazu verhelfen, Musiker_innen besser in Bezug auf ihre Aktivitäten im Social Web zu verstehen. Es werden Methoden und Maßnahmen aufgezeigt, die Künstler_innen dabei unterstützen können, das Social Web zu nutzen und die Grundlagen dafür schaffen können, dass sich Künstler_innen effektiver darin bewegen.
Musik in sozialen Netzwerken (Social Media Week Hamburg 2012)Matthias Krebs
Produzieren & Teilen: Musik in den sozialen Netzwerken
Es existieren Musikplattformen im Internet, die kreative Musikgestaltung im engeren Sinne zulassen. D.h., man kann heute ueber den Browser direkt Musik machen und dies haeufig sogar gemeinsam tun. Beispiele sind das Notensatzprogramm -Noteflight- (www.noteflight.com) oder das einfache Soundtoy -iNudge- (www.inudge.net) oder das DJ-Programm -audiotool- (http://www.audiotool.com) und es gibt eine grosse Zahl mehr. Von besonderem Interesse sind solche Musikplattformen, die dadurch kennzeichnet sind, dass die Beziehungen innerhalb von Nutzergruppen hoechste Prioritaet haben.
* Was taugt das Internet zum Musik machen? Spielt jeder nur fuer sich allein am Bildschirm? Welche neuen Formen des Gemeinsamen entwickeln sich?
* Welche Medientrends koennen beobachtet werden, die durch die zunehmende Digitalisierung unseres Alltags an Bedeutung gewinnen?
* Wie gestalten sich aktuelle und zukuenftige Musikpraktiken von Kindern und Jugendlichen mit diesem Medium?
Autor: Matthias Krebs
Für Musikerinnen und Musiker gibt es mittlerweile zahlreiche nützliche Apps, die nicht nur als Hilfsmittel den Musikeralltag erleichtern, sondern auch neue kreative Möglichkeiten schaffen: ob zum Musikmachen unterwegs, im Studio, auf der Bühne oder für die gemeinsame Musikproduktion mit Musikerkolleg_innen via Internet.
Darüber hinaus gibt es die Möglichkeit per Baukastenprinzip kostengünstig die eigene App zu erstellen. Als Marketingtool und Absatzkanal erlaubt dies, neue Wege zu gehen, auf denen sich Nutzer von Smartphones und Tablets bereits befinden.
Dieser kurze Impulsvortrag soll eine Orientierung zum Thema liefern.
Salo 2011 bled conference social media in music industryJari Salo
Conference presentation in Bled econference. Presents results of a small study we did in 2008. In the study Social media in the music industry we have both managers and consumers views points.
The four most popular and modern methods for music marketing.
How the rise of social media and YouTube has helped music marketing and replaced traditional marketing methods.
For A2 Media Studies - looking at the music industry and Music Videos.
This document summarizes a research article that examines the relationship between social media, traditional media, and music sales. The study uses data on blog buzz (as a measure of social media activity), radio play (as a measure of traditional media), and music album and song sales. It finds that radio play is consistently positively related to future sales at both the song and album level. However, blog buzz is either not related or negatively related to sales, suggesting that free online sampling enabled by social media may displace potential sales. The negative relationship between buzz and sales is stronger for niche music and less popular songs.
How to Promote Your Music Online: A Social Media Guide for the MusicianDr. David Mitchell
A presentation from the 2015 College Music Society conference by Jennifer Jones and Dr. David Mitchell discussing online streaming, digital downloads, vinyl records, social media tools and case studies of successful online marketing campaigns.
Can social media marketing save the music industry?Moksh Juneja
This document discusses how social media marketing can help save the music industry. It outlines several ways artists can leverage social media to increase their popularity, such as being shareable, responsive, and accessible on social platforms and interacting with listeners. It also examines how listeners engage with music online through playlists on YouTube, music apps, and social music sites. Overall, the document suggests social media can help artists and the music industry survive in the digital age by connecting artists and listeners online.
Disputation: Von Open Access zu Open Science: Zum Wandel digitaler Kulturen d...Christian Heise
Präsentation der mündlichen Verteidigung der Doktorarbeit mit dem Titel: Von Open Access zu Open Science: Zum Wandel digitaler Kulturen der wissenschaftlichen Kommunikation am Promotionskolleg "Wissenskulturen / Digitale Medien" der Leuphana Universität in Lüneburg.
Dorian Kostanjsek ist Inhaber des Wiler Partylabels Asisozial. Auch als DJ A.S.I. / 4.5.1. legt er in der Schweiz und im nahen Ausland hämmernde Beats auf. Dank seiner Erfahrung als ehemaliger Inhaber des Reaktor Club Winterthur hat er die Programmverantwortung im Club Raumstation St.Gallen übernommen. Er erzählt uns wie die von ihm produzierte Musik (Minimal Allianz) per Social Media zum Hörer kommt und ob sich damit das grosse Geld verdienen lässt. Nervt ein Partyveranstalter früher oder später nur noch? Sind diese Facebook-Einladungen wichtig um zu wissen was wo mit wem läuft?
SMSnack #9 Musik und Social Media - Slides Johnny BurnSocial Media Snack
Johnny Burn ist ein Geschichtenerzähler mit unverschämtem Witz und noch unverschämteren Melodien. Die “One-Man-Boygroup” mit erotischer Stimme aus Südost-Malters stellt keinen Anspruch auf vorgetäuschten Seelen-Striptease. Stattdessen wird der Zuhörer verwirrt, überrascht, ab und zu verstört und doch immer wieder entzückt. Zusammen mit der clou kreativagentur kümmerte er sich 2013 um das Sommerloch seiner Fans mit einer sechsteiligen YouTube Serie als “Tuc Tuc Fahrer” im touristischen Luzern. Johnny erzählt uns wie aus der Idee ein medialer Snack mit viel Humor entstand. Begleitet wird er von Klaus Oberholzer (@oberholzerkb), der uns anhand der Zahlen aufzeigen wird, warum die Videos auf Mundart gerade in Litauen so grosse Zugriffszahlen erreicht hatte.
Zielsetzungen der Social Media Nutzung für professionelle Musiker & Social Me...DigiMediaL_musik
Wer nicht bereit ist, einen persönlichen und ernst gemeinten Dialog mit Menschen zu führen, wird in der neuen Welt der Social Media nicht weit kommen. Das endlose Einsammeln von "Facebook-Likes" greift hier zu kurz, denn es entspringt einem überholten Denken über Marketing und der Vorstellung des passiven Rezipienten, es ist nichts anderes als das Suchen nach der neuen Einschaltquote.
The music industry is now dominated by three major global recording labels - Warner Music, Universal, and Sony - which control around 95% of the worldwide music distribution. Independent labels also exist but have smaller audiences. Digital downloads and streaming on platforms like YouTube have largely replaced CDs, causing industry revenue from album sales to drop significantly from 2008-2010. Artists now rely heavily on social media like Twitter to promote their music directly to large fanbases. The industry combats illegal downloading by promoting legal platforms like Vevo, iTunes, and AmazonMP3 for high-quality, paid music access.
The document discusses issues around digital music piracy, including perspectives from different groups. The Recording Industry Association of America (RIAA) argues that piracy has significantly hurt the music industry's sales and profits. However, some studies have found that pirates are more likely than non-pirates to purchase music and concert tickets, and that piracy may help expose users to new artists. While illegal, some see benefits to piracy in terms of artistic and cultural sharing and influence. Overall, reasonable arguments exist on both sides of this complex issue.
The document provides an overview of music videos, including their history, purposes, and various styles. It discusses how music videos started in the 1980s with the rise of MTV and how they are used to promote artists and make money. The document also examines different types of music video styles such as narratives, live footage, animation, and parodies/pastiches. Censorship and the roles of producers, major labels, and independent labels are also covered.
Music videos first emerged in the 1920s as promotional films for songs. They gained popularity with the rise of MTV in 1981, which exclusively played music videos and helped artists promote their music visually. Key developments included Michael Jackson's "Billie Jean" video, one of the first to feature a storyline. Today, social media platforms like YouTube have profoundly impacted the industry by allowing unknown artists to self-promote, and digital technologies continue advancing the production quality and creative possibilities of music videos.
Music videos first emerged in the 1920s as promotional films for songs. They gained widespread popularity in the 1980s with the launch of MTV, which gave artists a platform to promote their music visually. Michael Jackson's "Billie Jean" video, with its storyline and special effects, set a new standard. Today, social media platforms like YouTube allow unknown artists to self-promote, while all artists use music videos and the internet to connect with fans and sell their music in an increasingly digital marketplace. Developments in camera and editing technology continue to impact music videos by enabling higher production quality.
Music videos first emerged in the 1920s as promotional films for songs. They gained widespread popularity in the 1980s with the launch of MTV. Michael Jackson's "Billie Jean" video, featuring his iconic moonwalk, helped bring MTV into the mainstream. Today, social media platforms like YouTube have become major promotional tools, allowing unknown artists to gain exposure by uploading videos for viewers worldwide. Advancing camera and editing technologies have made high quality music videos more accessible, fueling continued evolution of the genre.
Music videos first emerged in the 1920s as promotional films for songs. They gained popularity with the rise of MTV in 1981, which exclusively played music videos and helped artists promote their music visually. Key developments included Michael Jackson's "Billie Jean" video, one of the first to feature a storyline. Today, social media platforms like YouTube have profoundly impacted the industry by allowing unknown artists to self-promote, and digital technologies continue advancing the production quality and creative possibilities of music videos.
Music videos first emerged in the 1920s as promotional films for songs. They gained widespread popularity in the 1980s with the launch of MTV, which gave artists a platform to promote their music visually. Michael Jackson's "Billie Jean" video, with its storyline and special effects, set a new standard and helped bring MTV into the mainstream. Today, social media platforms like YouTube allow unknown artists to self-promote, while all artists can interact directly with fans online. Advancing camera and editing technologies have made high-quality music videos more accessible.
Music videos first emerged in the 1920s as a way to promote music recordings. The first music video was Bessie Smith's "St. Louis Blues" in 1929, which was simply a recording of her performance. It wasn't until the 1980s that music videos started including storylines, effects, and creative visuals to engage audiences. MTV, which launched in 1981, was hugely influential in promoting music videos and the artists that created them. As technology advanced, it allowed greater creativity and production quality in music videos. More recently, social media platforms like YouTube have become important promotional tools for artists, both established and unknown, to share their music videos with broad audiences online.
Music videos have evolved significantly since the late 19th century. Early music videos in the 1890s were still images projected with live songs, while videos in the 1920s and 1930s featured dancers and singers in short musical films and films incorporating music and song. In the 1960s, the Beatles pioneered the concept of promotional music videos. The launch of MTV in 1981 brought music videos to mass audiences and transformed the industry. Music video budgets and production values increased greatly in subsequent decades, with some major artists spending over $1 million per video by the 1990s. New technologies in the 2000s like YouTube democratized music video sharing but also contributed to their decline on television.
This document discusses the history of the music industry from the 19th century to today. It covers key developments and changes over time, including the invention of the phonograph in 1877, the rise of radio in the 1920s, the dominance of major record labels in the 1980s-90s, the growth of digital music in the late 1990s and 2000s, and the impact of YouTube and social media on music distribution and discovery in the 21st century. Case studies are provided on early YouTube stars like Justin Bieber and Boyce Avenue, as well as how MySpace helped unknown artists get discovered. The last sections discuss strategies for musicians to stay relevant today through social media engagement and maintaining communication with fans.
This document discusses different ways that music is consumed and distributed. It describes how YouTube has become the largest music streaming platform, allowing people to listen on various devices. It also discusses other historical music technologies like the iPod and radio. The document then outlines some popular music genres and artists from the 2000s decade, like Britney Spears, Eminem, and U2. It also provides an overview of the music production process. Finally, it discusses how TV talent shows, YouTube, radio play, film promotions, and other avenues are used to market and distribute new music.
Issues in contemporary music industry & Research into two decades in music in...shipy02
Streaming music videos allows artists to target niche audiences through internet distribution, becoming unique and pushing boundaries. Zoe Keating is a non-mainstream artist targeting audiences interested in contemporary classical and cello rock. Nearly all her income comes from streaming music on platforms like Spotify, where users can stream music to wireless speakers without keeping their device near the speakers. Record labels are losing control over distributing and monetizing music videos as audiences can now watch anything on YouTube and are not constrained by what labels promote.
The document discusses copyright laws regarding music piracy. It is illegal to copy and distribute copyrighted music without permission, but legal to make copies for personal use. While music labels argue piracy hurts sales, some studies have found pirates are more likely to purchase music and attend concerts, exposing more people to new artists. Overall, there are reasonable arguments on both sides of the piracy debate.
The document discusses copyright laws regarding music piracy. It is illegal to copy and distribute copyrighted music without permission, but legal to make copies for personal use. While music industry groups claim piracy has reduced music sales, some studies have found pirates may actually help promote artists and increase sales. The effects of online music sharing on the industry remain unclear and debated.
Music videos have become an important part of the music industry, sometimes deciding the success of a song. They originated from musical short films in the early 1900s but became more prominent with the development of television in the 1960s. Shows like "Countdown" in the 1970s helped promote music videos and realize their marketing potential. Nowadays, music videos are considered a new form of art and are frequently used to appeal to audiences through visuals and female sexuality rather than just the song itself.
Major record label vs Independent record label09foxemm
Columbia Records is a major record label owned by Sony Music Entertainment that represents many top artists across multiple genres. It has a large roster of over 85 artists and earns revenue from album and song sales as well as merchandise. In contrast, Sub Pop is an independent label founded in 1988 that launched the careers of grunge bands like Nirvana and helped define the Seattle music scene in the 1990s. As an independent label, Sub Pop relies more on word-of-mouth and social media to promote its artists due to a smaller budget, while major labels like Columbia can spend heavily on music videos, advertising, and promotion.
Music videos serve several purposes including promoting artists, record labels, and album sales. They attract audiences using tactics like the male gaze theory, portraying artists in appealing ways. Music videos can also spread messages or publicize collaborations between artists. Releasing music videos across different media platforms helps expand audiences and revenue.
The document discusses the changing relationship between artists and record labels in the modern music industry. With technology making it easier for artists to independently distribute their music online, the role of record labels is becoming less necessary. However, record labels still provide benefits like funding for music production and marketing, widespread distribution, and cross-promotion opportunities. The relationship remains an exchange where artists gain recognition and support while labels profit from their investments.
Trusted Execution Environment for Decentralized Process MiningLucaBarbaro3
Presentation of the paper "Trusted Execution Environment for Decentralized Process Mining" given during the CAiSE 2024 Conference in Cyprus on June 7, 2024.
Monitoring and Managing Anomaly Detection on OpenShift.pdfTosin Akinosho
Monitoring and Managing Anomaly Detection on OpenShift
Overview
Dive into the world of anomaly detection on edge devices with our comprehensive hands-on tutorial. This SlideShare presentation will guide you through the entire process, from data collection and model training to edge deployment and real-time monitoring. Perfect for those looking to implement robust anomaly detection systems on resource-constrained IoT/edge devices.
Key Topics Covered
1. Introduction to Anomaly Detection
- Understand the fundamentals of anomaly detection and its importance in identifying unusual behavior or failures in systems.
2. Understanding Edge (IoT)
- Learn about edge computing and IoT, and how they enable real-time data processing and decision-making at the source.
3. What is ArgoCD?
- Discover ArgoCD, a declarative, GitOps continuous delivery tool for Kubernetes, and its role in deploying applications on edge devices.
4. Deployment Using ArgoCD for Edge Devices
- Step-by-step guide on deploying anomaly detection models on edge devices using ArgoCD.
5. Introduction to Apache Kafka and S3
- Explore Apache Kafka for real-time data streaming and Amazon S3 for scalable storage solutions.
6. Viewing Kafka Messages in the Data Lake
- Learn how to view and analyze Kafka messages stored in a data lake for better insights.
7. What is Prometheus?
- Get to know Prometheus, an open-source monitoring and alerting toolkit, and its application in monitoring edge devices.
8. Monitoring Application Metrics with Prometheus
- Detailed instructions on setting up Prometheus to monitor the performance and health of your anomaly detection system.
9. What is Camel K?
- Introduction to Camel K, a lightweight integration framework built on Apache Camel, designed for Kubernetes.
10. Configuring Camel K Integrations for Data Pipelines
- Learn how to configure Camel K for seamless data pipeline integrations in your anomaly detection workflow.
11. What is a Jupyter Notebook?
- Overview of Jupyter Notebooks, an open-source web application for creating and sharing documents with live code, equations, visualizations, and narrative text.
12. Jupyter Notebooks with Code Examples
- Hands-on examples and code snippets in Jupyter Notebooks to help you implement and test anomaly detection models.
Your One-Stop Shop for Python Success: Top 10 US Python Development Providersakankshawande
Simplify your search for a reliable Python development partner! This list presents the top 10 trusted US providers offering comprehensive Python development services, ensuring your project's success from conception to completion.
HCL Notes und Domino Lizenzkostenreduzierung in der Welt von DLAUpanagenda
Webinar Recording: https://www.panagenda.com/webinars/hcl-notes-und-domino-lizenzkostenreduzierung-in-der-welt-von-dlau/
DLAU und die Lizenzen nach dem CCB- und CCX-Modell sind für viele in der HCL-Community seit letztem Jahr ein heißes Thema. Als Notes- oder Domino-Kunde haben Sie vielleicht mit unerwartet hohen Benutzerzahlen und Lizenzgebühren zu kämpfen. Sie fragen sich vielleicht, wie diese neue Art der Lizenzierung funktioniert und welchen Nutzen sie Ihnen bringt. Vor allem wollen Sie sicherlich Ihr Budget einhalten und Kosten sparen, wo immer möglich. Das verstehen wir und wir möchten Ihnen dabei helfen!
Wir erklären Ihnen, wie Sie häufige Konfigurationsprobleme lösen können, die dazu führen können, dass mehr Benutzer gezählt werden als nötig, und wie Sie überflüssige oder ungenutzte Konten identifizieren und entfernen können, um Geld zu sparen. Es gibt auch einige Ansätze, die zu unnötigen Ausgaben führen können, z. B. wenn ein Personendokument anstelle eines Mail-Ins für geteilte Mailboxen verwendet wird. Wir zeigen Ihnen solche Fälle und deren Lösungen. Und natürlich erklären wir Ihnen das neue Lizenzmodell.
Nehmen Sie an diesem Webinar teil, bei dem HCL-Ambassador Marc Thomas und Gastredner Franz Walder Ihnen diese neue Welt näherbringen. Es vermittelt Ihnen die Tools und das Know-how, um den Überblick zu bewahren. Sie werden in der Lage sein, Ihre Kosten durch eine optimierte Domino-Konfiguration zu reduzieren und auch in Zukunft gering zu halten.
Diese Themen werden behandelt
- Reduzierung der Lizenzkosten durch Auffinden und Beheben von Fehlkonfigurationen und überflüssigen Konten
- Wie funktionieren CCB- und CCX-Lizenzen wirklich?
- Verstehen des DLAU-Tools und wie man es am besten nutzt
- Tipps für häufige Problembereiche, wie z. B. Team-Postfächer, Funktions-/Testbenutzer usw.
- Praxisbeispiele und Best Practices zum sofortigen Umsetzen
Freshworks Rethinks NoSQL for Rapid Scaling & Cost-EfficiencyScyllaDB
Freshworks creates AI-boosted business software that helps employees work more efficiently and effectively. Managing data across multiple RDBMS and NoSQL databases was already a challenge at their current scale. To prepare for 10X growth, they knew it was time to rethink their database strategy. Learn how they architected a solution that would simplify scaling while keeping costs under control.
zkStudyClub - LatticeFold: A Lattice-based Folding Scheme and its Application...Alex Pruden
Folding is a recent technique for building efficient recursive SNARKs. Several elegant folding protocols have been proposed, such as Nova, Supernova, Hypernova, Protostar, and others. However, all of them rely on an additively homomorphic commitment scheme based on discrete log, and are therefore not post-quantum secure. In this work we present LatticeFold, the first lattice-based folding protocol based on the Module SIS problem. This folding protocol naturally leads to an efficient recursive lattice-based SNARK and an efficient PCD scheme. LatticeFold supports folding low-degree relations, such as R1CS, as well as high-degree relations, such as CCS. The key challenge is to construct a secure folding protocol that works with the Ajtai commitment scheme. The difficulty, is ensuring that extracted witnesses are low norm through many rounds of folding. We present a novel technique using the sumcheck protocol to ensure that extracted witnesses are always low norm no matter how many rounds of folding are used. Our evaluation of the final proof system suggests that it is as performant as Hypernova, while providing post-quantum security.
Paper Link: https://eprint.iacr.org/2024/257
Best 20 SEO Techniques To Improve Website Visibility In SERPPixlogix Infotech
Boost your website's visibility with proven SEO techniques! Our latest blog dives into essential strategies to enhance your online presence, increase traffic, and rank higher on search engines. From keyword optimization to quality content creation, learn how to make your site stand out in the crowded digital landscape. Discover actionable tips and expert insights to elevate your SEO game.
For the full video of this presentation, please visit: https://www.edge-ai-vision.com/2024/06/temporal-event-neural-networks-a-more-efficient-alternative-to-the-transformer-a-presentation-from-brainchip/
Chris Jones, Director of Product Management at BrainChip , presents the “Temporal Event Neural Networks: A More Efficient Alternative to the Transformer” tutorial at the May 2024 Embedded Vision Summit.
The expansion of AI services necessitates enhanced computational capabilities on edge devices. Temporal Event Neural Networks (TENNs), developed by BrainChip, represent a novel and highly efficient state-space network. TENNs demonstrate exceptional proficiency in handling multi-dimensional streaming data, facilitating advancements in object detection, action recognition, speech enhancement and language model/sequence generation. Through the utilization of polynomial-based continuous convolutions, TENNs streamline models, expedite training processes and significantly diminish memory requirements, achieving notable reductions of up to 50x in parameters and 5,000x in energy consumption compared to prevailing methodologies like transformers.
Integration with BrainChip’s Akida neuromorphic hardware IP further enhances TENNs’ capabilities, enabling the realization of highly capable, portable and passively cooled edge devices. This presentation delves into the technical innovations underlying TENNs, presents real-world benchmarks, and elucidates how this cutting-edge approach is positioned to revolutionize edge AI across diverse applications.
Generating privacy-protected synthetic data using Secludy and MilvusZilliz
During this demo, the founders of Secludy will demonstrate how their system utilizes Milvus to store and manipulate embeddings for generating privacy-protected synthetic data. Their approach not only maintains the confidentiality of the original data but also enhances the utility and scalability of LLMs under privacy constraints. Attendees, including machine learning engineers, data scientists, and data managers, will witness first-hand how Secludy's integration with Milvus empowers organizations to harness the power of LLMs securely and efficiently.
Dandelion Hashtable: beyond billion requests per second on a commodity serverAntonios Katsarakis
This slide deck presents DLHT, a concurrent in-memory hashtable. Despite efforts to optimize hashtables, that go as far as sacrificing core functionality, state-of-the-art designs still incur multiple memory accesses per request and block request processing in three cases. First, most hashtables block while waiting for data to be retrieved from memory. Second, open-addressing designs, which represent the current state-of-the-art, either cannot free index slots on deletes or must block all requests to do so. Third, index resizes block every request until all objects are copied to the new index. Defying folklore wisdom, DLHT forgoes open-addressing and adopts a fully-featured and memory-aware closed-addressing design based on bounded cache-line-chaining. This design offers lock-free index operations and deletes that free slots instantly, (2) completes most requests with a single memory access, (3) utilizes software prefetching to hide memory latencies, and (4) employs a novel non-blocking and parallel resizing. In a commodity server and a memory-resident workload, DLHT surpasses 1.6B requests per second and provides 3.5x (12x) the throughput of the state-of-the-art closed-addressing (open-addressing) resizable hashtable on Gets (Deletes).
Let's Integrate MuleSoft RPA, COMPOSER, APM with AWS IDP along with Slackshyamraj55
Discover the seamless integration of RPA (Robotic Process Automation), COMPOSER, and APM with AWS IDP enhanced with Slack notifications. Explore how these technologies converge to streamline workflows, optimize performance, and ensure secure access, all while leveraging the power of AWS IDP and real-time communication via Slack notifications.
Introduction of Cybersecurity with OSS at Code Europe 2024Hiroshi SHIBATA
I develop the Ruby programming language, RubyGems, and Bundler, which are package managers for Ruby. Today, I will introduce how to enhance the security of your application using open-source software (OSS) examples from Ruby and RubyGems.
The first topic is CVE (Common Vulnerabilities and Exposures). I have published CVEs many times. But what exactly is a CVE? I'll provide a basic understanding of CVEs and explain how to detect and handle vulnerabilities in OSS.
Next, let's discuss package managers. Package managers play a critical role in the OSS ecosystem. I'll explain how to manage library dependencies in your application.
I'll share insights into how the Ruby and RubyGems core team works to keep our ecosystem safe. By the end of this talk, you'll have a better understanding of how to safeguard your code.
In the realm of cybersecurity, offensive security practices act as a critical shield. By simulating real-world attacks in a controlled environment, these techniques expose vulnerabilities before malicious actors can exploit them. This proactive approach allows manufacturers to identify and fix weaknesses, significantly enhancing system security.
This presentation delves into the development of a system designed to mimic Galileo's Open Service signal using software-defined radio (SDR) technology. We'll begin with a foundational overview of both Global Navigation Satellite Systems (GNSS) and the intricacies of digital signal processing.
The presentation culminates in a live demonstration. We'll showcase the manipulation of Galileo's Open Service pilot signal, simulating an attack on various software and hardware systems. This practical demonstration serves to highlight the potential consequences of unaddressed vulnerabilities, emphasizing the importance of offensive security practices in safeguarding critical infrastructure.
leewayhertz.com-AI in predictive maintenance Use cases technologies benefits ...alexjohnson7307
Predictive maintenance is a proactive approach that anticipates equipment failures before they happen. At the forefront of this innovative strategy is Artificial Intelligence (AI), which brings unprecedented precision and efficiency. AI in predictive maintenance is transforming industries by reducing downtime, minimizing costs, and enhancing productivity.
2. Agenda
On today‟s agenda we will be discussing:
Introduction
Record labels and social media
Social media and fame
Copyright infringement
Artist sharing
User sharing
Youtube and the music industry
The financial side of the music industry
Conclusion
3. Introduction
Currently a shift is taking place in the music
industry that it converting it from a time of
executives and artists into a time of artists
and fans. Fans can acquire music in brand
new ways through the advent of social media
and the public has also made a shift from
listeners to producers, now in charge of
creating their own media as well.
We will be discussing the major changes in
the music industry thus far, relating to social
media and how they impact how the world
gathers music as well as how the music
industry will grow in the future.
5. The Music Industry: From Then
„til Now
http://thetecnica.com/2012/08/the-state-music-industry-pics- Kaitlyn
2012
6. Record Labels and Social Media
The transition from record labels to recording it yourself.
7. Control of the Music Industry
In the past, record labels held influence
on what musicians became popular
and when their content was released to
the public.
Now, there is a focus on independent
artists releasing their content without
representation, online distribution, and
the use of social media as a platform to
become famous.
8. Motown Records
An example of the control that record
labels had in the past is Motown
Records. In the 1960‟s Motown
Records was a major label that
controlled all aspects of an artist‟s
career.
The had a “factory-like” system that
worked as a production line for their
artists.
If the artists did not pass each phase
of the “inspection” then their songs
were not released.
http://www.guardian.co.uk/music/musicblog/2010/nov/26/behind-music-motown-pop-
factory
9. Motown Records
This led to well-polished artists whose songs
sounded perfect. If the label was not sure the
song would become a #1 hit, it would not be
released
This process led to the “Motown Sound”,
which was very distinct and recognizable.
An example of this intense process is Marvin
Gaye‟s “ I Heard it Through the Grapevine”. It
was rejected the first few times going
through the machine, as it was not deemed
good enough.
http://2or3lines.blogspot.co.uk/2011/02/marvin-gaye-i-heard-it-through.html
10. The Music Industry Now
Now, labels have less of an influence on the
music industry because everyone is their own
producer and anyone can upload a video the
Youtube and have it become a hit.
As well, an established band can go
independent, cutting out the need for a record
company.
There is no longer a larger power that is in
charge of the content being distributed to the
people.
11. Social Media and Fame
A major aspect of this shift away from record companies
is the idea of the consumers of the media becoming the
producers.
Anyone who has access to the internet can post a video
or mp3 of them singing and could potentially become a
star.
Access to recording equipment and technology has never
been easier and leads to an influx of consumer-made
media.
http://www.youtube.com/watch?v=c_iN_QubRs0
12. Example: Justin Bieber
Just look at the example of Justin Just this summer he played a
Bieber. Justin Bieber posted videos large part in the popularity of the
summer hit “Call Me Maybe” by
of him singing on Youtube and Carly Ray Jepsen by posted a
attracted the attention of singer video of him and his friends lip-
Usher who signed him to his record syncing to the song and the video
label. He is now a very successful went viral.
musical artist and continues to His version and the original
became very popular, Ms.
influence pop culture with his
http://www.billboard.com/#/news/usher-introduces-teen-singer-
justin-bieber-1003966989.story Jepsen‟s having 212 million views
presence online. on Youtube.
Her song was on the top of the
charts for 9 weeks this summer.
This was made possible all
through the influence of social
http://www.nytimes.com/2012/08/22/business/media/how-call-me-
media such as Youtube and
maybe-and-social-media-are-upending-music.html?_r=0
13. Artists Releasing Music
An example of Any artist can now release their music separate from the
this is Prince. He record label by distributing it online. Using websites such as
released his
album Planet MySpace, Facebook, Spotify, and Youtube, artists can get
Earth for free in a
U.K their music into the hands of their fans without having to go
newspaper/online
. through a middle-man. This marks a huge shift in power in
the music industry from the record executives to the artists
While, he may
have not have and the fans.
made any money
off of the album While it seems as though it may hurt the artist to release their
by cutting out the
middleman, all of content online, in a time when illegal downloading is so
his concert dates
for the tour were popular, it seems the opposite is true. Artists are able to
sold out. connect with their fans through social media and as a result,
concert sales tend to be steady, even if the album is cheaper
http://www.time.com/time/arts/article/0,8599,1666973,00.htm for free online.
or available
14. Social Media, Fame and the
Future
Gone are the days when the executives at
an record label such as Motown Records
would decide who could be a star. Now,
anyone can have a hit song, all they have to
do is record it and post it on Youtube or
another social media site.
This seems to be the pattern for the future as
well. It is more than likely that everyone will
use social media for their music and the
need for these „middlemen‟ will continue to
deteriorate.
15. COPYRIGHT
INFRINGEMENT
How does illegal downloading and distribution of music through social
media affect the music industry?
16. Copyright Infringement
Copyright Infringement is one of the most Contrary to believing that piracy is a
popular topics in the music industry and completely negative aspect of the music
government. industry, the study that Columbia
University conducted also reports that
File-sharing and illegal distribution of music file-sharers purchase nearly 30% more
has increased due to the boom in social music than social media users who do
media in the last decade. not partake in file-sharing.
Since the popularity of social media still lies This essentially means that file-sharing
dominantly in the younger generation opposed consumers are the best and most active
to the popularity with adults, a Columbia customers although they distribute
University study has been conducted music and infringe copyright.
concluding young adults aged 18-29 are more
commonly pirating music than people aged
29+.
Popular BitTorrent websites now include public
forums, where piracy is openly discussed and
shared. These sites can also be integrated with Kyle
17. Copyright Infringement
These graphs provide interesting and valuable information. Although on nearly opposite sides
of the world, the patterns in both the US and Germany have correlations to each other. The
young adult sector downloads the most illegally across both nations. However, in the US,
there are still more consumers that are buying music than Germany in all ages. This may be
because of how social media and peer-to-peer networks differ in nation to nation.
18. Fighting Copyright Infringement – Corporate
Sharing
Spotify is a social media platform partially owned
by the music industry. Based in Europe that has
helped turn copyright infringement into a positive
alternative to illegal downloading and distribution
of music.
Spotify steams millions of songs to users via peer-
to-peer networks instead of servers, the same way
illegal file sharing sites distribute files.
The corporate sharing platform uses this social
media technique to generate revenue for company
itself and record labels. 70% of Spotify‟s revenue is
paid out in royalties.
Social media has now become the music
industry‟s most valuable tool in generating
revenue, but unfortunately and simultaneously,
19. Music Industry‟s Defense against
Piracy
Social Media has had massive impact on
potentially dangerous laws that were
presented in a positive way to combat
copyright infringement.
In the United States, SOPA (Stop Online
Piracy Act) was introduced on October
26, 2011. It was made to prevent
copyright infringement, but was so
detailed while maintaining vague
statements that it would even infringe
freedom of speech.
The Recording Industry Association of
America (RIAA) played a massive role in
trying to get this bill passed silently.
Social media networks made a lot of
noise.
Kyle
20. Social Media vs. Music Industry
The power of social media demonstrated the first planned “Internet Blackout”. The Internet
Blackout was a day where all websites who participated would either shut down completely, or
inform visitors of SOPA on the front page. Social networks impacted websites that were not social
networks. The massive scale of Facebook, Twitter, Reddit, and LinkedIn gave notice to
Kyle
21. Social Media Prevails
The bill was retracted by Lamar
Smith, the representative that
introduced the bill due to the
extreme protests.
The government and the music
industry were not able to stand
up to the power of social media,
companies, and the users behind
every Facebook profile and
Twitter account.
Kyle
22. Radiohead – Artist Sharing
A prime example of where the music industry is heading
was demonstrated by Radiohead in 2007 when they
released their album “In Rainbows” as a digital
download. Instead of charging for the album, they
included a notification that said “IT‟S UP TO YOU”,
regarding how much the customer would want to pay, free
being an option.
Radiohead‟s digital release went viral around the internet
and in the music industry through social media platforms.
Thousands of articles and posts were made on Facebook
and Twitter.
Months later when the band released a physical copy of In
Rainbows, it still sold three million copies within the year
of release.
Social media helped spread word about the album. They
were able to help the fans get the music they created, and
still generate revenue for Radiohead. Kyle
23. User Sharing: BitTorrent
Users who share music via peer-to-peer
methods (which infringe copyright and are illegal)
usually utilize a relatively new form of downloads
called Torrents. BitTorrent is a system that
allows multiple people to share files directly.
It is the most common peer-to-peer method for
downloading, and currently the largest
supporting backbone of piracy against the
music industry along with many others.
Websites such as isohunt.com and
thepiratebay.se are the largest torrent websites
on the internet and include public forums and
profiles allowing for a social media platform for
illegal file sharing.
Kyle
24. User Sharing:
An even more social approach for the music
industry is a network called Last.fm. Last.fm
allows you to create a profile and download a
program that will automatically update your
profile with songs and artists you listen to.
You can then find and connect with users who
have similar or opposite tastes and find new
music, friends, or online groups who share the
same musical interests as you.
The program will live stream a signal to your
Last.fm profile page and tell your friends and
fans what you are currently listening to in real
time, and allow you to find others who are
listening to the same artist at the same time
around the world. Kyle
25. User Sharing:
YouTube is one of the most popular social networks in the
world, and has arguably had the largest effect on the music
industry since the era of the internet.
Kyle
26. YouTube
How has YouTube affected the music industry to date, and what will the
future of YouTube bring to the table?
27. YouTube & The Music Industry
Since YouTube is a website that reaches 3 billion page hits per day, the
social media aspect of the website can nearly be classified as a global
media. YouTube is now a frontier of the Internet.
Clay Shirky describes in his TED Talk about consumers and users being
producers as well. YouTube is a prime example of where this statement
becomes a fact.
This social media platform now allows users to upload video of anything,
regardless of content. It could be for an audience of one, or hundreds of
millions. The people who use YouTube are also providing YouTube with
their content, allowing for viral exposure and exponential growth and hits
on videos.
Experts on the music industry and YouTube do not know what the
outcome for the future may be, and the predictions vary. There are of
course positives and negatives for YouTube and the music industry
working together or apart.
We can begin to identify these positives and negatives based on real Kyle
28. YouTube‟s Stance
Artists and record labels have the option to upload their music or music
videos to YouTube. They can then enable an option to monetize their
video and start to generate revenue through advertisements.
Advertising is one of the largest markets in the entire world, which is a
great way for YouTube to be profitable for the company itself and the
uploader and owner of the content.
YouTube executives state that record labels who decide to pursue the
social media monetization of videos generate a 200-300% increase in
revenue. Traffic increases on YouTube and stronger advertisements
allow more money to be made per video watched. Specific advertising
formulas and techniques allow relevant advertisements to appear so
audiences tend to not mind the ads as much. Some of the larger
partners YouTube has make millions of dollars per month.
The best part? The more content and original music they upload, the
more money they make. A social media platform has successfully
provided income for the hurting music industry, income for YouTube,
and free music for audiences.
Kyle
29. YouTube: Copyright Infringement &
Future
YouTube also includes a “Content ID System”. This system allows
copyright holders to either allow or disallow their music to be uploaded
to YouTube for any use at all. The system scans every YouTube video
upon upload to find any songs in their database, and will strip the
music off the video before it is published.
So, YouTube help the music industry make money, protect their
copyrighted work, and stream songs for free with the viewing of a
quick advertisement? What isn‟t to like?
The future for YouTube and the music industry looks good. The social
media aspect of YouTube allows for people to link videos within videos,
feature videos on a different channel and advertise their own video or
music to people who may enjoy it. Music videos and videos containing
songs give audiences around the world the opportunity to speak their
mind about the song, and share opinions with others.
So, what are the other benefits for the music industry to participate in
the growth of social media? Kyle
30. YouTube: Viral Exposure
A common term that appears on the Internet regarding popular content is
called viral. Recently in social media, content going viral means that
content gaining massive attention, very quickly, and retaining the mass
audience for a long time.
Nobody chooses what goes viral or gets popular except the masses of
users of social media. The music industry can in turn hope to go viral to
generate massive revenue.
Since YouTube is the most popular video hosting website, the videos
posted on YouTube are often linked and embedded in even more social
networks such as Facebook, Twitter, tumblr etc., therefore creating an
extremely large potential audience.
Rebecca Black‟s song called “Friday” was uploaded to YouTube in
February 2011, and only had 1,000 views in the first month. It went viral
the following month because of how terrible the song and video was. To
date, it has accumulated ~43.7 million views. The revenue and popularity
generated from the viral effect of the video (regardless of the quality of
song) kick started Rebecca‟s career in music. Kyle
31. YouTube: Viral Exposure
Viral exposure was never possible until social
media became a near standard for digital
communication. Now that YouTube has
integrated services with other social networks,
the chances for viral exposure and musical
success stories have been greatly increased.
This is a huge market for the music industry to
pursue in the future.
Another great example is “Gangnam Style” by
PSY. Uploaded only three months ago,
Gangnam Style has ~801 million views to
date and became viral through social media.
Memes and parodies of Gangnam Style
helped quickly build the viral fame. Kyle
32. YouTube: VEVO & Music Industry
Adaptation
VEVO is a music video website largely known in the music
industry. It is run by Sony Music Entertainment (SME),
Universal Music Group (UMG) and EMI Music.
The music industry started using Vevo in December of 2009,
and became an extremely popular music website. Since
most of the music industry today is owned by one of these
companies, most artists and record labels attribute their
name to a “Vevo” account on YouTube.
Vevo became a social media experiment which proved to
be successful. The name VEVO now appears on most
popular artists YouTube page and essentially built a brand
for quality and social networking. Vevo‟s Twitter account has
nearly 10,000 tweets notifying followers of new videos,
music, and content that can be found all on YouTube via
Vevo‟s channel or the specific artist‟s Vevo channel.
YouTube and Google partnered with Vevo to create a more
personalized and social experience for digital music on the
Internet. Kyle
33. YouTube: Musicians
For musicians, YouTube is one of the best platforms
they can use to further their career or hobby. YouTube
has a sign up option where you can choose your account
to be a “Musician” account. In this account, you have
many new options and features that you can utilize.
Creating playlists, labeling tracks and putting all of the
artist or band info on the users channel are just some of
them.
Users can subscribe to their channel and get instant
notifications to their phones that a new song or video
update has been released. Musicians can upload their
songs, music videos, “lyric videos” (which show the lyrics
on the video as the song progresses, tour updates, studio
updates and even hold contests.
You can now find indie and amateur pieces of music on
YouTube with a simple category search. Even Justin
Bieber was found on YouTube in 2008. Social media and Kyle
34. YouTube: Mobile
With the digital revolution coming hand in hand with
social media, using smart phones for Internet access has
become very common.
By using the Cloud to host music, it is available
anywhere with an Internet connection. YouTube is
enabling users to get music for free, regardless of where
they are. The music industry has changed to a download
on demand basis.
YouTube applications for iOS, Android etc, combined with
mobile websites gather a total of 600 million hits per day
– and that‟s only 6.7% percent of the total views that
YouTube gets per day (4 billion).
The number of mobile hits will only continue to rise as
smart phones decrease in price and become more
common. The music industry will be able to put music,
music videos, updates, and content in the hands of any
Kyle
consumer with the power of a couple clicks and taps.
35. YouTube: Music Industry
Changes
The music industry has already began to adapt and The audience for music videos have been greatly
integrate the services of social media into their business increased. Since the destruction of music videos being
model to attempt to successfully rebuild the industry. played on television for reality shows and other news
content, YouTube has become the major platform for
There is no set formula or certain way to tackle social
music videos. Even if the audience is just looking for the
media and YouTube for the music industry, since social
song, they are more likely to click on the official music
media and YouTube is still constantly changing. There is
video version, even if they minimize the tab and do not
no perfect balance yet. In the future, the music industry
watch, and just listen.
will be able to determine what works, and what doesn’t
work when there has been enough research. However, one of the downfalls the music industry is
heading towards is the loss of art. YouTube is slowly
YouTube has changed music in a variety of ways. The
making music disposable because certain music is being
most dominant is Cloud based streaming instead of using
over produced and populated to become a promotional
MP3s. Older songs in the 70s and 80s are being reborn
tool. Audiences are less likely to think about the artistic
into the digital age daily.
value of the song when they‟re distracted by an
YouTube is now an embedded platform, allowing videos advertisement at the beginning, or have recycled music
and music to be taken to the audience instead of the being pumped through YouTube too often.
audience coming to YouTube.
Kyle
36. The Financial Side of the Music Industry
Who is making money now? How are they doing it?
37. Finances
With the change in the music industry from record labels to Youtube to
the prevalence of copyright issues and the dissolution of record
companies, we must ask, who is making money? Is the music industry
still profitable? Will it be in the future?
38. Money: Where‟s it coming from,
where‟s it going?
The money for the music industry is The money is going to:
coming from: Labels
Internet radio sites Recording artists
iTunes Songwriter
Social media (Youtube, Vevo) Retailer or Company (such as
CDs Apple)
Subscription Services
http://www.rollingstone.com/music/news/the-new-economics-of-
the-music-industry-20111025
39. Who is Making Money
Internet Radio Sites
As you can see from the diagram on the right,
the record label is getting the majority of the
sales from internet radio sites such as
Pandora or Slacker. After the record label gets
their cut then the recording artist will get 45%
of the sales and any featured artist will get
5%.
Internet radio typically pays $0.001per stream
of a song.
http://www.rollingstone.com/music/news/the-new-economics-of-the-
music-industry-20111025?page=4
40. Who is Making Money
iTunes
With iTunes, the breakdown is similar to
that of internet radio. The label is paid the
most, $0.60 of the $1.29 song, the only
difference being that after the label, Apple is
the one who gets paid the most. Apple will
take $0.40 of that $1.29 song leaving $0.29
remaining for the recording artist and the
songwriter.
http://www.rollingstone.com/music/news/the-new-economics-of-
the-music-industry-20111025?page=2
41. Who is Making Money
Social Media
On social media sites such as Youtube,
an artist is given $1 for every 1000 views.
This venue is especially valuable if an
artist is independent, free from a record
label. An artist can upload videos of their
material and as long as they are getting
views, they are making money. There is a
potential for having no middleman and
still making a decent amount of profit.
http://www.rollingstone.com/music/news/the-new-economics-of-the-music-
industry-20111025?page=3
42. Who is Making Money
CDs
The financial aspect of CD sales are
very similar to those of iTunes sales.
The majority goes to the record label
and then the retailer selling the CD gets
a large chunk of the remaining sales of
the CD. The recording artist then gets
$1.93 of the $17.98 the CD was sold for,
and the songwriter gets $0.91.
http://www.rollingstone.com/music/news/the-new-economics-of-the-
music-industry-20111025?page=5
43. Who is Making Money
Subscription Services
In order for anyone to make money
off of a subscription service such as
Spotify or MOG the artist‟s song
must be listened to at least 60 times.
Once this has occurred the label and
the recording artist are paid $0.19
and the songwriter is paid $0.09.
This is the only media outlet where
the label and the recording artist are
getting paid the same amount of
money.
http://www.rollingstone.com/music/news/the-new-economics-of-the-music-
industry-20111025
44. Finances and the Future
As you can see from the different outlets available for buying
music, it is clear that the record labels are making the most money
off of the sales of artist‟s songs. This is something that has been
happening for many decades and is an excellent indicator of why
the music industry is shifting the way it is.
Artist‟s want to make the most they can on their material and they
want their fans to pay a reasonable amount. This cannot happen if
the money is being divided amongst a large amount of
people/companies.
The cost of music will continue to go up in order to pay the labels,
recording artists, songwriters and companies associated with
distributing the music. If an artist is able to release their music
online, directly to their fans, essentially cutting out the need for
these middlemen, it seems like the price may go down for the
fans, and the respect for the artist may go up. Radiohead and
Prince have both shown examples of this being done effectively.
45. Finances and the Future
It is also clear, just from the numbers on those charts that indicate the cost per song or
album ($1.29 and $17.98 respectively) why people would download the songs illegally
or stream them online over Youtube, etc. as opposed to buying the song or full album.
In the future, it seems likely that the public will continue to download their music
illegally or through outlets such as Youtube in order to avoid the large fees associated
with buying albums.
If artists are able to connect to their fans via social media and release their album that
way, fans may be more receptive to it, seeing as the profits go directly to the bands
they love. It seems as though the landscape of the music industry will continue to shift
this way in the future in order to connect to the public via social media and convince
them to continue buying albums.
46. Conclusion
In conclusion, the music industry is currently changing immensely. There is a shift from record labels having all of
the control to the artists having control if they use social media to their advantage. Anyone can use social media in
order to express their creativity and produce music that is available to the public. There is no longer a string of
channels that someone must go through in order to get their music to the public‟s ears. Youtube and other social
media sites play a huge role in giving everyone, from a nobody at his computer to a famous artist, the chance to
distribute material online and become somebody. Laws are prevalent in the music industry right now and are
something that everyone must be aware of. In this time where Youtube and sharing music is increasingly popular,
copyright laws are more important than ever. With the increase of technologies used to download music there is a
fight over finances and who gets paid. This is a continual struggle for artists to escape the grasp of the record
labels and provide entertainment at a fair rate to them and to their fans.
The future of the music industry and social media seems to balance on how well the people can use social media
to their advantage. If everyone continues to take advantage of the opportunities that social media presents for the
music industry then it seems likely that in the next 10 years or so, we will be finding out about and purchasing our
music through social media sites more than any other medium.
47. Annotated Bibliography
"2 or 3 Lines (and so Much More)." Marvin Gaye. N.p., n.d. Web. 10 Nov. 2012.
http://2or3lines.blogspot.co.uk/2011/02/marvin-gaye-i-heard-it-through.html
This article talks about Marvin Gaye and how his song “I Heard it through the grapevine” went
through a rigorous process at Motown Records before it was released to the public. This is a great
example of how intense their quality control program was.
"35 Mind Numbing YouTube Facts, Figures and Statistics †“ Infographic." Jeffbullass Blog.
N.p., n.d. Web. 01 Nov. 2012. <http://www.jeffbullas.com/2012/05/23/35-mind-numbing-youtube-
facts-figures- and-statistics-infographic/>.
I used this source for the infographic they provided. All the information is credible and provides a
visual learning experience to help communicate the sheer mass of YouTube and how social media
interacts with YouTube, such as Twitter and mobile devices.
"Billboard - Music Charts, Music News, Artist Photo Gallery & Free Video." Billboard. N.p., n.d.
Web. 01 Nov. 2012. <http://www.billboard.com/>.
This article is about Justin Bieber and his rise to fame. He is a perfect example of someone who was
discovered on Youtube and is now a major star. His story is a great one to tell when discussing the
power of social media.
48. Annotated Bibliography
"BIO." Rebecca Black. N.p., n.d. Web. 01 Nov. 2012.
<http://rebeccablackonline.com/?page_id=61>.
I used the official Rebecca Black website to get information and background about her success and
how social media and the music industry swooped her up within months. It is obviously the most
accurate source for this information so I picked this above other biographies.
"Clay Shirky: How Cellphones, Twitter, Facebook Can Make History." YouTube. YouTube, 16
June 2009. Web. 20 Nov. 2012. <http://www.youtube.com/watch?v=c_iN_QubRs0>.
This TED talk video by Clay Shirky discusses how social media is becoming so popular in our society
that now anyone with access to a computer and the internet has the opportunity to become famous.
"Evolver.fm." Evolverfm Free Music Can Pay As Well As Paid Music Says YouTube Comments.
N.p., n.d. Web. 01 Nov. 2012. <http://evolver.fm/2011/02/02/free-music-pays-as-well-as-paid-
music-says- youtube/>.
I used Evolver as a source because it had insider information with YouTube‟s executives on how
royalties are paid to record labels and artists in the music industry via video monetization. It also
includes statistics and information about the evolution of YouTube and how using YouTube and it‟s
social media platform can help revive the music industry.
49. Annotated Bibliography
"In Rainbows Reviews, Ratings, Credits, and More - Metacritic." In Rainbows Reviews, Ratings,
Credits, and More - Metacritic. N.p., n.d. Web. 01 Nov. 2012.
<http://www.metacritic.com/music/in- rainbows/radiohead>.
This article clearly describes how Radiohead correlates to an artist sharing their music, providing
insight to the possible future about what is going to happen in the future of the music industry, and
how more artists may begin to take this route.
"In The NME Office." NME.COM. N.p., n.d. Web. 01 Nov. 2012.
<http://www.nme.com/blog/index.php?blog=10>.
I used this source because it‟s more of an informal but accurate blog. It had real down to earth
answers about how YouTube is changing music and how the music industry is adapting. It proved to
be a very insightful article.
"Justin Bieber Makes Them Proud. But Why?" Vancouver Observer. N.p., n.d. Web. 01 Nov.
2012. <http://www.vancouverobserver.com/politics/news/2010/12/24/justin-bieber-makes-them-
proud-why>.
I used this source because it dates back to the entry of Justin Bieber into the music industry. It
includes information about how he got discovered on YouTube and how he burst to fame in a matter
of weeks due to social media.
50. Annotated Bibliography
Lindvall, Helienne. "Behind the Music: Motown: A Pop Factory with Quality
Control." The Guardian. Guardian News and Media, 26 Nov. 2010. Web. 01 Nov.
2012. <http://www.guardian.co.uk/music/musicblog/2010/nov/26/behind-music-
motown- pop-factory>.
This article provided an excellent overview of how Motown Records ran when it was in
its prime in the 1960s. This is important for our social media project because we must
note the differences between how things were run in the past and how the music
industry runs now.
PSY Biography." AceShowbiz. N.p., n.d. Web. 01 Nov. 2012.
<http://www.aceshowbiz.com/celebrity/psy/biography.html>.
I used this biography of Psy because Psy himself verified the information via a reddit
Q&A session. Information about Gangnam Style was gathered as well.
"Rebecca Black Friday." YouTube. N.p., n.d. Web. 01 Nov. 2012.
<http://www.youtube.com/watch?v=kfVsfOSbJY0>.
Here is the link to Rebecca Black‟s Friday video mentioned.
51. Annotated Bibliography
Schiesser, Tim. "Trivia Tuesday: Some Facts About Bittorrent." Neowin.net. N.p., 27 Dec. 2011. Web. 01
Nov. 2012. <http://www.neowin.net/news/trivia-tuesday-some-facts-about-bittorrent>.
I used this source because NeoWin is an established and very community driven website with reputable
articles. The facts displayed about Torrents and BitTorrent are given in an unbiased view and provide
information about the legitimacy of torrents and the piracy side of torrents.
Sisario, Ben. "The New Rise of a Summer Hit: Tweet It Maybe." The New York Times. The New York
Times, 22 Aug. 2012. Web. 12 Nov. 2012. <http://www.nytimes.com/2012/08/22/business/media/how-
call-me-maybe-and-social-media-are-upending-music.html?_r=0>.
This article discusses how social media is influencing the music that we hear on the radio. When a song
becomes popular on Youtube, that is now enough of an influence to push the song onto the billboard charts
and onto the radio for us to hear.
Smith, Catharine. "Online Piracy: Youth Shaping Future Of Online TV, Movies, Music." The Huffington
Post. TheHuffingtonPost.com, 18 Feb. 2012. Web. 01 Nov. 2012.
http://www.huffingtonpost.com/2012/02/18/online-piracy-youth_n_1286911.html
I chose The Huffington Post article on youth and young adult piracy because of the credibility Huffington Post
provides. There are valid points about how the Youth is shaping the future of media and how things will
change based on the youth demographic.
52. Annotated Bibliography
"The New Economics of the Music Industry." Rollingstone.com. N.p., n.d. Web. 12 Nov. 2012.
<http://www.rollingstone.com/music/news/the-new-economics-of-the-music-industry-
20111025?page=4>.
This article provides an extensive look into the current financial side of the music industry. It is
important to see how the finances have changed since the advent of social media and to note who is
getting paid the most and where the money is coming from.
"The State of the Music Industry." TheTenica. N.p., 01 Aug. 2012. Web. 28 Oct. 2012.
<http://thetecnica.com/2012/08/the-state-music-industry-pics-2012>.
This source has a very entertaining cartoon about where the music industry was in the past, where it
is now, and where it will be in the future. It seemed like a good way to start off the presentation which
is why it was included.
"TorrentFreak." TorrentFreak RSS. N.p., n.d. Web. 01 Nov. 2012. <http://torrentfreak.com/file-
sharers-buy- 30-more-music-than-non-p2p-peers-121015/>.
I used this TorrentFreak article because it provided a very informative insight into peer-to-peer file
sharing including unexpected positive information about the topic.
53. Annotated Bibliography
"TorrentFreak." TorrentFreak RSS. N.p., n.d. Web. 01 Nov. 2012. <http://torrentfreak.com/spotify-a-
massive-p2p-network- blessed-by-record-labels-110617/>.
I used this TorrentFreak article because of information about Spotify, and the expansion of peer-to-peer
networks that the music industry actually supports.
Tyrangiel, Josh. "Radiohead Says: Pay What You Want." Time Magazine. N.p., 01 Oct. 2007. Web. 01
Nov. 2012. <http://www.time.com/time/arts/article/0,8599,1666973,00.html>.
This article provides the example of Prince and how he distributed his album through a free newspaper. The
unconventional method avoided going through his publishers and yet he still sold out all of his concert dates
on the tour associated with the album.
"Vevo." Twitter. N.p., n.d. Web. 01 Nov. 2012. <https://twitter.com/#!/vevo>.
Here is the mentioned Twitter account for Vevo.
"Where Do Music Collections Come From?" Media Piracy The American Assembly. N.p., n.d. Web. 01
Nov. 2012. <http://piracy.americanassembly.org/where-do-music-collections-come-from/>.
I chose this article because of the great infographic material. American Assembly is a very good credible
source that holds great discussion and statistics. The facts about piracy of music are great information on
how music is being pirated around the world.