O Império das Grandes Gravadoras I Cortes Rádio Guerrilha

As fontes mais abaixo! SE INSCREVA AQUI NO ANOSSO CANAL! Apoie o canal em: Quem apoia por lá ajuda na escolha dos temas das lives e dos vídeos aqui no YouTube, ganhando acesso ao grupo do Telegram da Rádio Guerrilha Apoio também no Pix: guiafonso@ PROGRAMAÇÃO, redes e outras informações: FONTES: Vídeos - - *Spotify doesn’t pay artists… this is why* (Finn Mckenty - Punk Rock MBA) - visto em 22/09/23 - - *As gravadoras e o contrato 360º | Sérgio Affonso | Warner Music* (UBC - União Brasileira de Compositores) - visto em 22/09/23 - Textos: - AWAL Decoded - The History of Record Deals, 2019. Disponível em: (acesso em set 2023) - AWAL The Ins and Outs of Signing a Record Deal, 2022. Disponível em: (acesso em set 2023) - DEL VALLE, Marc & PREY, Robert & ZWERWER, Leslie. Platform pop disentangling Spotify s intermediary role in the music industry 2020, 25:1, 74-92, DOI: - DREDGE, Stuart. UMG and Deezer reveal plans for ‘artist-centric’ streaming payouts. Artigo publicado no site Music:)ally em 06 de setembro de 2023: - GRAHAM, Gary. et. al. The transformation of the music industry supply chain, International Journal of Operations & Production Management, Vol. 24 Iss 11 pp. 1087 - 1103 (2004) - MALL, A. (2018). Concentration, diversity, and consequences - Privileging independent over major record labels. Popular Music, 37(3), 444-465. doi: - MARANI, Michelangelo. Streaming and Subscription Business Model in the Recorded Music Industry - Cyclicality and Payout Decisions in Major Record Labels before and after the Spotify effect. Artigo publicado pela Nova School of Business and Economics, 2021. Lisboa, Portugal - MEISEL, J. B., & SULLIVAN, T. S. The impact of the Internet on the law and economics of the music industry. (2002) Info, 4(2), 16–22._ doi: - MARIUZZO, Franco and ORMOSI, Peter L., Independent v Major Record Labels - Do they have the same streaming power (law)? (November 13, 2020). Disponível em:  - NEGUS, Keith. Music Genres and Corporate Cultures. Londres, Routledge: 1999 - NEGUS, Keith. The Corporate Strategies of the Major Record Labels and the international imperative. Artigo publicado no livro Global Repertoires: Popular music within and Beyond the Transnational Music Industry, de Gebesmeier and Smudits 2017 - O’DAIR & FRY A. Beyond the Black Box of Streaming. Popular Communication, 18:1, 65-77, 2019 DOI: - RICHARDSON, JAMES H. The Spotify Paradox - How the Creation of a Compulsory License Scheme for Streaming On-Demand Music Platforms Can Save the Music Industry. Artigo publicado em UCLA Entertainment Law Review no. 22(1, 2014, p. 45-74 - SIMON, Jean P. New Players in the music industry - Lifeboats or Killer Whales? Digital Policy, Regulation and Governance, Vol. 21 No. 6, pp. 525 549.  - SMUDITS, Alfred. Roads to Music Sociology. Springer VS: Wiesbaden, Alemanha. 2019 - TOFALVY, Tamas. KOLTAI, Júlia. “Splendid Isolation” The reproduction of music industry inequalities in Spotify’s recommendation system. New Media & Society 2021 25:7, 1580-1604. Disponível em: Notícias e Gráficos - - Gráfico **U.S. Recorded Music Revenues by Format** da Recording Industry Association of America (RIAA), com detalhamento da indústria cultural estadunidense: