CANZONE TRISTE

Le canzoni pop sono diventate più "negative". L'uso delle parole legate ad emozioni negative è aumentato di brutto. In numero assoluto, prevalgono pur sempre le parole a emozioni positive, ma questa è una caratteristica universale del linguaggio umano (principio di Pollyanna), e nessuno si aspetta un sorpasso. Tuttavia, si tende a convergere. Ma oltre ai testi c'è anche la musica che cambia: il tempo è più lento e la tonalità minore (percepita come più cupa rispetto alla maggiore).

The most popular songs today are sadder than they were 50 years ago: can cultural evolution explain this negative turn?

AEON.CO

Why are pop songs getting sadder than they used to be? – Alberto Acerbi & Charlotte Brand | Aeon Ideas

The most popular songs today are sadder than they were 50 years ago: can cultural evolution explain this negative turn?

7 THE FUTURE OF THE CHART da finire

7 THE FUTURE OF THE CHART
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Radio as we know it began with the November 1920
Note:LA RADIO NEL XXI SEC

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radio was to Nazism as the printing press was to the Reformation.
Note:ADORNO

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since about 1990, the amount of time the average American
Note:UN DECLINO CHE ACCELERA

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competing technologies over the period
Note:CAUSA

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CD

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MP3

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not to disappear entirely, but to retain diminished but sizable audiences for decades.
Note:COME DECLINA UNA TECNOLOGIA OBSOLETA

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one of the most important of these alternative promotional media is television.
Note:ALTERNATIVE ALLA RADIO NELA PROMOZIONE MUSICALE

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the titan of the spring television schedule is the program American Idol,
Note:TALENT

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launching the careers

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Idol reinvigorates the sales of the weekly guest coaches,
Note:ALLIEVI E MAESTRI

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Glee. This is not only an hour-long television show depicting a high school choral club, but a reliable powerhouse of the iTunes download
Note:TELEFILM

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much more dramatic changes in the music industry came from the Internet.

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LA VERA SCOSSA

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larger war against file-sharing has proven to be like a game of whack-a-mole, as Napster was replaced by more truly decentralized architectures
Note:UNA GUERRA INFINITA

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industry reluctantly agreed to cooperate with licensed digital music services, most notably iTunes in 2003 and Amazon in 2008,
Note:LA COOPERAZ RILUTTANTE

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selling one or two singles from an album for 99 cents each instead of an entire CD for $14.99.
Note:COSA SIGNIFICAVA...PICCOLE PORZIONI

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the industry first attempts to suppress piracy and then “assimilates” it by adopting a business model closer to that of the pirated editions,
Note:SEMPRE LA SOLITA STORIA

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not grown nearly rapidly enough to replace diminished CD sales.
Note:MA NN C È UNA SOSTITUZIONE

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streaming media services have become important
Note:YT

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YouTube

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assimilation strategy with the sites Vevo and MTV.com, both of which license music videos from record labels for a share of advertising revenues.
Note:YT ASSIMILATA DALLE CASE DISCO

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online advertising.
Note:IL NUOVO BUSINESS CASE DISCO

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Pandora, and Stitcher allow a smartphone to behave like a radio receiver
Note:LA NUOVA RADIO

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innovation challenge the established business model of using broadcasting to promote the sale of recorded music,
Note:SI CAMBIA...

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7.1 General Lessons of the Book for Diffusion of Innovations
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Different types of diseases spread by different mechanisms
Note:L ANALOGIA

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Linguistics has a well-developed literature on the diffusion of vocabulary and pronunciation
Note:ALTRA ANALOGIA

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At a methodological level, advances in computing power have made it easier both to collect and to analyze data
Note:UNA FACILITAZIONE

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7.1.1 Particular Lessons for Diffusion in Pop Music Radio
Note:Tttttttttt

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dispel some common expectations (centralized coordination within radio chains, diffusion through social networks)
Note:RISULTATI INATTESI

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(coordination by labels, the importance of genre conventions,
Note:QUEL CHE CONTA NELLA DIFFUSIONE

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we have a portrait of radio where the primary forces are genre conventions and record label promotions, with endogenous field-level dynamics having an occasional role
Note:CONCLUSIONI DELL INDAGINW... IL DOPPIO MOTORE

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social networks between stations and corporate coordination of either adds or censorship are notable for their absence
Note:SORPRESA

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7.2 Centralization and Distribution of Decision-making
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large corporations will shape their content.
Note:PREOCCUPAZIONE

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their ideas are the ruling ideas of the epoch.”
Note:MARX E IL LAVAGGIO DEL CERVELLO

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ownership of radio will squelch creativity
Note:PREOCC COLLATERALE

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Consider the example of Sony, which bought Columbia
Note:UN ESEMPIO

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avoids any interference with routine creative decisions,
Note:L OSSERVATO

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We in Tokyo don't have competence in film or music.
Note:PAROLE DEL CEO

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more routine decisions about particular songs seem to be made locally.
Note:DOBBIAMO SUONARE QS SONG NELLA NS RADIO?

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made at the station level

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radio chains are not centralizing programming
Note:TESI

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no support for the popular notion that corporate management of Clear Channel blacklisted the Dixie
Note:UN CASO DI CENSURA CONFERMA

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this book has found no evidence for corporate control of routine decisions in radio,
Note:RIPETIZIONE

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continue programming in its format or flip to a new one,
Note:UNA DECISIONE CENTRALIZZATA...IL GENERE

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In the future, both aspects of this pattern should persist
Note:LA SORTE DEI DUE TREND

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open Internet is increasingly being replaced by “walled garden” systems like Facebook
Note:LO SVILUPPO

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they inhibit competition over audience ratings and advertising.
Note:SU FACE NN VEDI LE PUBBL DI I TUNE

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Historically, “[t]he process of media evolution does not occur without substantial resistance,
Note:LA RESISTENZA ALLA DIFFUSIONE

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following its failure to establish Betamax as the standard for videotape in the 1980s, Sony became convinced that its ability to establish future technical standards depended on controlling a substantial content
Note:DA QUI L ACQUISTO DI COLUMBIA E L IMPO DI DVD E BLU RAY

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vertical integration with content

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vertical integration
Note:ALTERNATIVE

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strategic alliances
Note:SECONDA

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we are seeing a system where the core of the culture industries is dominated by large corporations in strategic alliance
Note:IL PANORAMA

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7.3 The Struggle to Control Publicity
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Cultural
DA FINIRE

Cosa studia l' R&D della casa discografica?

Riccardo Mariani

3 min · 

Amazon

 · 

Molto studiati nei reparti R&D dell'industria discografica i modelli di diffusione delle malattie e dei tic linguistici.
#Amazon

Climbing the Charts: What Radio Airplay Tells Us about the Diffusion of Innovation

Despite the growth of digital media, traditional FM radio airplay still remains the essential way for musicians to achieve commercial success. Climbing the Charts…

AMAZON.COM

Mi piaceVedi altre reazioni

Dietro la canzone di successo

Riccardo Mariani

13 h · 

Amazon

 · 

Cosa conta per il successo di una canzone?

1) Deve appartenere ad un genere preciso e riconoscibile.
2) Deve essere promossa dei produttori.

Contano molto poco i passaparola, le radio e i critici.
#Amazon

Climbing the Charts: What Radio Airplay Tells Us about the Diffusion of Innovation

Despite the growth of digital media, traditional FM radio airplay still remains the essential way for musicians to achieve commercial success. Climbing the Charts examines how songs rise, or fail to rise, up the radio airplay charts. Looking at the relationships between record labels, tastemakers...

AMAZON.COM

Adorno e la radio

Riccardo Mariani

13 h · 

Amazon

 · 

Per il buon Theodor Adorno la radio "era" il nazismo.

Un po' come la stampa era la riforma luterana.
#Amazon

Climbing the Charts: What Radio Airplay Tells Us about the Diffusion of Innovation

Despite the growth of digital media, traditional FM radio airplay still remains the essential way for musicians to achieve commercial success. Climbing the Charts examines how songs rise, or fail to rise, up the radio airplay charts. Looking at the relationships between record labels, tastemakers...

AMAZON.COM

Hit Parade

C’è qualcosa di impudico nel tentativo di osservare la fruizione di un prodotto estetico, si entra un po’ troppo nell’intimo delle persone. Un approccio alternativo considera solo i fattori più esteriori. E’ l’approccio prediletto da Gabriel Rossman nel suo Climbing the Charts: What Radio Airplay Tells Us about the Diffusion of Innovation. L’oggetto dell’indagine è la musica commerciale.

Nella musica commerciale la diffusione conta più della produzione, lo si vede ad occhio nudo limitandosi ad un’analisi dei costi:

… Rihanna's label assembled a dream team of songwriters, producers, vocal coaches, and song mixers at a cost of about $78,000 per song. However, this considerable figure was dwarfed by the million dollars it cost to promote a song, about a third of which went to radio promotion….

In questo senso le radio FM sono ancora centrali, questo ancora oggi in presenza dei nuovi media.

… record labels feel it is worth spending in excess of $300,000 to get a song played on the radio. Or perhaps it is better to note that radio airplay is still this valuable…

Il libro tenta di districare il complesso rapporto tra canzoni e radio. La prospettiva è interessante:

… study popular culture not from the perspective of what it means, but how it was made…

Come si diffonde una musica commerciale presso il pubblico?

… This book's substantive concern of how songs become hits on the radio is part of a more general class of problems in social science known as the diffusion of innovation…

La curva di diffusione è lo strumento principale impiegato:

… At the most basic level, one can study diffusion simply by drawing a graph and looking at its shape to see whether it is more concave or more s-shaped…

FIGURA 1

FIGURA 2

Da cosa dipende la diffusione? Se è del tipo illustrato nella figura 1 da elementi esterni, se è del tipo illustrato nella figura 2 da un contagio interno:

… Contagious diffusion can only occur when someone who has experienced the innovation encounters someone who has not. Diffusion is slow early on because there are too few adopters who can promote the innovation… So you may be more likely to buy a book when it becomes a best seller because the book's popularity gives it more conspicuous placement in bookstores, even if you don't personally know a single individual who has read the book or have even observed strangers reading the book in public… the proportion of holdouts who adopt in each period is determined by how many actors are already using the innovation…

Se il motore della diffusione è esogeno (figura 1) il fatto che altri consumino il prodotto non incide sulla voglia di consumarlo.

… In contrast, in the first style a constant proportion of holdouts adopt in every period… For instance, the diffusion of tetracycline was mostly exogenous, the diffusion of hybrid corn almost perfectly endogenous, and the diffusion of postwar consumer appliances a compromise between the two patterns.

Un primo effetto della globalizzazione è quello di produrre sempre meno star di successo sempre maggiore, è l’”effetto rete”:

… through the wonders of electronic reproduction the total volume of fame does not diminish, but grows. That is, at each stage there are fewer successful artists, but those who are successful are so famous that the aggregate of fame increases as one moves downstream… massive inequality nicknamed the “superstar effect” which is made possible by the introduction of electronic reproduction…

Canzonette, mode, “effetto rete”… tutto sembra preludere ad una diffusione virale… e invece, sorpresa! La normale diffusione della musica commerciale è di tipo esogeno, quello illustrato dalla figure 1.

Rossman procede con dei “case study”:

… The central empirical concern of this book is how songs become popular on the radio, so a good place to start is by case study of a particularly successful song. In figure 2.1, I have graphed the diffusion curve for “Umbrella” by Rihanna… this concave growth pattern is consistent with an exogenous process and is entirely inconsistent with the s-shaped curves produced by an endogenous process. It is completely implausible to argue that radio stations decided to play this song because they were imitating each other, as its popularity simply happened too fast for stations to be attentive to each other… That we do not see an s-curve but rather a concave curve implies that this song did not spread across radio as an endogenous process of the kind so beloved by sociologists, popular science writers, and “viral marketing” consultants…  in general, pop songs have concave curves with the same shape that we see for “Umbrella… To explain how so many radio stations came to play “Umbrella,” we cannot resort to arguments about contagion or cascades… may be a trait of the song itself or it may be some actor who is influencing all of the radio stations…

La gente non vuole ascoltare la canzone famosa perché è famosa. Ma qual è allora la molla che fa scattare questa voglia? Vengono sondate due spiegazioni:

… explore two plausible explanations… The first is that stations have unsated demand for new music from pop stars and play songs as soon as they are available… The second is that the large companies who have dominated radio since deregulation coordinate the airplay of their properties…

Vediamo il caso della “voglia di Madonna…”. Ci sono problemi: la curva concava vale anche per i nuovi autori e poi ci sono i successi multipli, ovvero le canzoni tratte dallo stesso album che diventano successi in tempi diversi.

… We might imagine that when a beloved artist releases new music, radio stations would immediately jump at the chance to play it… There are two problems with this interpretation. First, unsated demand sounds plausible for explaining the diffusion of songs by established stars, but we would not imagine that radio stations were eagerly awaiting releases by hitherto unknown performers… contrary to the predictions of the unsated demand hypothesis, songs by unknown artists tend to diffuse by an exogenous pattern, though not as steeply or as widely as those by stars… A more severe problem for the unsated demand explanation is that it cannot explain why multiple songs from the same album become popular at different times… With few exceptions, radio stations began playing “Umbrella” in March, “Shut Up and Drive” in June, “Hate That I Love You” in late summer, and “Don't Stop the Music” within a few weeks of Christmas… If the reason that radio stations tend to start playing a song all at once was that they all gained access to it at the same time, this supposition fails to explain why most radio stations sat on “Hate That I Love You” and “Don't Stop the Music” for weeks or months after the songs became available and then suddenly began playing them during a very short time window…

C’è forse un “grande burattinaio” che governa dall’alto la diffusione presso le radio di certe canzoni?

… Since the simple fact of songs being made available to radio stations is not enough to explain the tremendous conformity of radio stations, we must look for an actor who coordinates radio. Who is it who decides which song is going to spread?…

Negli USA molti hanno fatto l’ipotesi della CCC.

… many people have a strong idea as to exactly who is the central actor who coordinates radio: Clear Channel Communications… The San Antonio-based company owns about one in ten of all commercial American radio stations…

Ma anche dividendo le radio in base alla proprietà, non si osserva alcun effetto virale, non esiste una correlazione particolarmente accentuata tra radio con-sorelle:

… To test this hypothesis, I plotted “Umbrella” again… but this time with a separate curve for each company with an appreciable number of Top 40 stations. As can be seen, the companies each show the same smooth exogenous diffusion curve. This result contrasts strikingly with what we would expect were decisions made at the chain level… no chain shows a step function… each chain shows a smooth diffusion… curves are essentially identical with only trivial and probably random discrepancies between the adoption times of stations in different chains… we can rule out the possibility of strong coordination at the chain

Riassuntino:

… we have seen that pop songs usually spread among radio stations in a way that is inconsistent with the stations imitating one another but is consistent with some central force influencing all of the stations. Because the same pattern applies to later singles on an album, the pattern cannot be explained by album release dates. Likewise, popular speculation attributes conformity among radio stations to corporate ownership, but we have strong evidence that corporate radio chains do not centrally coordinate the decision to add songs to radio playlists…

Ma forse il burattinaio risiede più in alto, non a livello delle radio ma a livello delle case discografiche.

… think of the long-running (but now defunct) trade journal Radio and Records and see the radio industry as part of a broader music industry that includes such actors as instrument manufacturers, live performance promoters and venues, and most important of all, the recorded music industry…

Il comportamento delle radio è decisiva per le case discografiche, controllarle in qualche modo è importantissimo:

… Consider that it is rare for a person to walk into WalMart or Best Buy or to log onto Amazon or iTunes and purchase music that they have never heard before… most of the time we buy music based on having been exposed to it through broadcast media, especially pop music radio… In short, airplay is a major determinant of sales… “There is no better guarantor of a band's success than a hit single on the radio luring listeners into record stores to buy the album.”… supposed impartiality of gatekeepers like radio stations makes their endorsements more valuable than advertising…

E’ chiaro che a questa stregua la casa discografica tenterà in tuttii modi di “ungere le ruote” presso le radio al fine di promuovere la sua hit. E’ il fenomeno che va sotto il nome di payola:

… The most basic practice is that record labels deluge radio programmers and other workers in the music industry with promotional copies of CDs in the hopes that they will be impressed by the music and give it airplay and other exposure… Ultimately though, the most direct way to get airplay is to bribe a radio station (or its employees) to play your music… The most direct form of payola is simply a quid pro quo where a station (or the station's staff) agrees to play a particular song in exchange for cash, intellectual property rights, drugs, or sex…

Molto spesso il fenomeno payola si risolve in un mero spreco di risorse: quando tutti lo attuano, nessuno ne beneficia. Per essere chiari: se tutte le case discografiche inviano campioni gratuiti dei dischi al DJ, quest’ultimo non si sentirà in dovere di favorire nessuno vanificando i doni.

Questo spiega anche il ciclo payola: parte la corruzione che via via diventa un puro spreco di risorse, a questo punto il sistema discografico fa scoppiare lo scandalo e comincia la pulizia, dopo qualche tempo a corruzione zero si ricomincia.

… The most fundamental question is why the payola market continually reestablishes itself and who benefits from the system… It makes sense for stations to accept this payola if they expect that the value of the bribe is greater than the loss of advertising… However, when payola is an accepted business practice it can be an implicit part of compensation which is fungible with direct station expenditures, and may even be preferable for management as it evades taxes… In any case, it's unlikely that a radio station would be asked to take a bribe to play a really unappealing record, since a reasonable record label wouldn't want to waste money promoting music that they know to be terrible… A bidding war for airplay breaks out and this eventually leads to rent dissipation, with the cost of payola equaling the marginal benefit of airplay and this cost being so high that nearly all profits from the recording industry are captured by broadcasting. At this point the volume of the illicit payola market attracts the interest of the state and/or the recording industry grows frustrated and attempts collective action. Whether by state or by trade group, such a response temporarily suppresses payola and brings the system full circle…

Payola inizia come corruzione delle case discografiche e termina come ricatto delle radio: stare nel sistema non ti dà vantaggi ma stare fuori è la morte certa. Se tutti partecipano gli unici beneficiati sono i DJ: liberi di scegliere secondo il loro gusto e di incassare esentasse:

… Thus, payola is something that begins as a bribe paid by labels and artists, but can quickly end up as extortion demanded by broadcasters. A particular record company can benefit tremendously if it provides payola and its rivals do not… However, once payola becomes universal all the record companies pay a high price and have no net promotion advantage for doing so. This incentive structure is the familiar prisoner's dilemma, where an actor's best outcome is to cheat while its partner behaves, followed by them both behaving, followed by them both cheating, and worst of all is for the actor to behave while its partner cheats… The only solution to the prisoner's dilemma is collective action over repeated interaction, but even this is tenuous…

Le case discografiche potrebbero fare cartello e non pagare. Ma…

… Unfortunately for musicians and the record industry, cartels are extremely vulnerable to cheating…

COMMENTO PERSONALE

A questo punto sappiamo che il modello di diffusione “esogeno” in alcuni momenti puo’ essere spiegato da payola ma in altri momenti no: per esempio quando payola non c’è, oppure quando è talmente diffusa da neutralizzare di fatto l’azione corruttrice delle case discografiche. Eppure la curva esogena è un fatto costante, a cosa attribuirla? Se escludiamo il contagio e la corruzione dall’alto non ci resta che dare un peso alla bellezza oggettiva del prodotto commerciale. I DJ e il pubblico la percepisce e la desidera, da qui popolarità e successo.

6 BUT WHICH CHART DO YOU CLIMB? rossman

6 BUT WHICH CHART DO YOU CLIMB?Read more at location 1389

Note: 6@@@@@@@@@@@@@@ Edit

A format is “a package of program content, announcer style, timing of program and commercial material, and methods for obtaining listener feedback and quality control.”1 In other words, format is radio's version of what organizational theory calls a core strategy.Read more at location 1391

Note: DEF Edit

This chapter will first provide a qualitative overview of the long-term trend toward increasingly differentiated formats followed by a review of literature on categorical schema in arts and diffusion.Read more at location 1413

Note: PROGRAMMA Edit

6.1 Trends in the Differentiation of Radio FormatsRead more at location 1416

Note: T Edit

the medium was not always as segmented by genre conventions as it is today.Read more at location 1418

Note: OGGI SPECIALISTICA Edit

On the one hand, there are more formats now than in the 1950s, but on the other, any given station today will have much less eclectic airplay than did early stations,Read more at location 1419

Note: ECLETTISMO SACRIFICATO Edit

In response to the challenge from television, stations cut costs by relying on the cheapest programming they could find: disk jockeys playing records.Read more at location 1431

Note: CHEAPEST Edit

The most influential of these innovations was the Top 40 format, invented in 1951 by Todd Storz of KOWH in Omaha after he noticed bar patrons repeatedly choosing the same songs from a jukebox.Read more at location 1433

Note: TOP 40 Edit

In 1967, Tom Donahue of KMPX-FM in San Francisco created a new “Underground” radio format that was primarily focused around cultivating an intense attachment to the late 1960s counterculture and only secondarily with music itself.Read more at location 1444

Note: CONTROCULTURA Edit

The finding that deregulation produces format diversityRead more at location 1465

Note: DEREGULATION Edit

6.2 Classification and ArtRead more at location 1477

Note: T Edit

Understanding to what categories a market actor belongs implies a whole host of questions, such as with whom is the actor in competition, what is the actor's reference or peer group for purposes of understanding appropriate behavior, and do potential customers or investors even notice the object, and if so how do they evaluate it?Read more at location 1479

Note: IMPLICAZIONI Edit

Genre serves to provide a set of common understandings about art, which makes possible collaboration and exchange.Read more at location 1483

Note: FUNZIONE DEL GENERE Edit

radio has experienced a long and persistent trend toward increasing differentiation.Read more at location 1486

Note: GRANA FINE Edit

“The more differentiated the system of genre classification, the less universal.”22 In other words, the more complex a schema is, the harder it is to agree on it.Read more at location 1488

Note: UNIVERSALITÀ Edit

falling into several categories benefits products except insofar as it causes the product to have a fuzzy identity, in which case its reception suffers.Read more at location 1490

Note: FUZZY IDENTITY Edit

baby names are subject to rapid turnover, to the extent that you can make a reasonable guess at a person's birth cohort entirely from his or her first name.Read more at location 1493

Note: NOME DI RAGAZZA Edit

girls' names with a leading “J” were especially popular in the mid-twentieth century as were, for both genders, names with a biblical etymology in the 1970s and names with an Irish etymology in the 1980s (including Irish surnames and place-names repurposed as first names like “Ryan” and “Shannon”). Currently, anyone who ventures into a university-affiliated daycare center and reads the labels on the cubbies will see an abundance of Victorian names.Read more at location 1495

Note: NOMI Edit

When an actor evaluates an innovation, the actor first considers it in terms of the various criteria in the actor's toolkit. If the innovation is sufficiently meritorious by these criteria, the actor may adopt immediately. Scaled up to the macro level this implies an exogenous diffusion pattern. In contrast, when an innovation seems dubious when measured by the actor's rubrics, the actor will delay adoption until a sufficiently convincing mass of the actor's peers have adopted.Read more at location 1506

Note: 2 MODELLI Edit

we should see different patterns for songs that clearly belong to a format as compared to those that are crossing over from other formats or whose genre is emerging and has only a tentative claim to inclusion in the format.Read more at location 1519

Note: MODELLI DIVERSI X GENERE E CROSSOVER Edit

6.3 CrossoverRead more at location 1521

Note: T Edit

the song was highly focused on the genre conventions of its initial format and by definition will not match additional formats as well. Record labels will go so far as to remix the singleRead more at location 1526

Note: REMIX Edit

“Love Song” by Sara Bareilles, the third most popular song of 2008.Read more at location 1531

Add a note

the song began spreading through Hot AC and AAA by a constant hazard.Read more at location 1534

Note: CH Edit

the song spread slowly at first then began to experience exponential growth in November, which continued through December and January until by February the song had saturated the format via a classic s-curve diffusion pattern.Read more at location 1537

Note: TOP 40 Edit

Thus we see “Love Song” first spreading by constant hazards, indicating that stations adopted without reference to their peers. Such behavior is theoretically consistent with the stations making the decision to adopt on the basis of their own reading of the song as measured against the genre conventions of the format. Following this we see the song spreading by s-curves through two formats, indicating that the stations were sensitive to peer behavior as their hazard was a function of prior peer adoptions. Note that this endogenous pattern is with regard to their format peers and not stations in adjacent formats.Read more at location 1542

Note: 2 MODELLI S X IL SECPNDO Edit

Thus, for songs that are a dubious fit with a station's format, it is insufficient for the song to have been validated by stations in a similar format as the programmer knew ex ante that the song was a better fit with the adjacent format. Rather such a dubious song must be validated by peers in the station's own format.Read more at location 1548

Note: SPIEGA Edit

Only in a very few cases does a song's crossover success follow a constant hazard. For instance, the Alicia Keys song “No One” spread exogenously through Rhythmic, Urban, and Urban AC, and then spread by s-curve through Top 40, all of which is consistent with the general pattern. Then two months after its initial success, it began spreading among Hot AC stations through a constant hazard.Read more at location 1553

Note: CASI RARI Edit

6.4 New Genres and FormatsRead more at location 1573

Note: T Edit

to the extent that the industry is thoroughly segmented by category, it will inhibit the growth of music that breaks with these categories for the same reasons that a securities market that is segmented by industry will penalize conglomerates.Read more at location 1577

Note: CONGLOMERATE Edit

The late 1970s and early 1980s present an interesting case because AM was still largely characterized by the traditional Top 40 format (that is, an eclectic agglomeration of whatever is popular) whereas FM was characterized by narrow formats. As a result, “FM radio, now rigidly segmented by music styles, came late to the disco party.Read more at location 1579

Note: CASO DISCO MUSIC Edit

6.4.1 Reggaetón Comes to the MainlandRead more at location 1596

Note: T Edit

we want to see how songs from a major new genre spread over the course of that genre becoming more institutionalized in radio.Read more at location 1597

Note: COME NASCE UN GENERE Edit

The main musical difference between reggaetón and hip-hop is a distinctive fast and tinny staccato dance beat borrowed from Jamaican dancehall musicRead more at location 1601

Note: REGGAETON Edit

Thus, we not only see a pattern of slow growth leading up to a tipping point, but also diffusion across a gradient of social distance from reggaetón's Puerto Rican base.Read more at location 1623

Note: LENTO CONTAGIO Edit

MexicanRead more at location 1637