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Appetite for self-destruction: the spectacular crash of the record industry in the digital age
0 references·16 citing·57 second hopsampled
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  • 2015‘Let's keep music special. F—Spotify’: on-demand streaming and the controversy over artist royalties156 cited
  • 2012Organizational ignorance: Towards a managerial perspective on the unknown154 cited
  • 2020Is music streaming bad for musicians? Problems of evidence and argument135 cited
  • 2011Bye, Bye, Miss American Pie? The Supply of New Recorded Music Since Napster93 cited
  • 2017Digital Subscriptions: The Unending Consumption of Music in the Digital Era90 cited
  • 2010Rampant Reproduction and Digital Democracy: Shifting Landscapes of Music Production and ‘Piracy’ in Bolivia83 cited
  • 2018Popular Music as Promotion: Music and Branding in the Digital Age76 cited
  • 2016The Song Remains the Same? Technological Change and Positioning in the Recorded Music Industry58 cited
  • 2016Even the losers get lucky sometimes: New products and the evolution of music quality since Napster46 cited
  • 2016From record selling to cultural entrepreneurship: the music economy in the digital paradigm shift38 cited
  • 2013iTunes: Breaking Barriers and Building Walls38 cited
  • 2012Music Piracy and Its Effects on Demand, Supply, and Welfare38 cited
  • 2019Conformity bias in the cultural transmission of music sampling traditions36 cited
  • 2015

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The sounds of latinidad: immigrants making music and creating culture in a southern city
34 cited
  • 2016The online place of popular music: Exploring the impact of geography and social media on pop artists’ mainstream media attention31 cited
  • 2017Copying, copyright and originality: imitation, transformation and popular musicians27 cited