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Purpose This paper aims to examine the importance of celebrity brands in influencing consumer perceptions of celebrity authenticity, which drives positive consumer attitudes and intentions. In addition, the notion of low-celebrity investment is investigated as a factor that diminishes the positive outcomes associated with celebrity brands. Design/methodology/approach Study 1 examines the effect of brand situation (endorsement versus celebrity brand) on consumer attitudes and intentions. Studies 2 and 3 investigate the role of celebrity authenticity in explaining the effects observed in Study 1. Study 4 examines celebrity investment as a bound of the phenomenon. Findings Study 1 demonstrates that consumers report heightened attitudes and intentions towards celebrity brands when compared to endorsements. Studies 2 and 3 provide evidence that authenticity explains the effects observed in Study 1. Results of Study 4 show that when consumers are aware of low-celebrity investment, the celebrity is viewed as inauthentic regardless of brand situation. Research limitations/implications This research is limited as it focuses only on known celebrity endorsers who were matched with products that had a high level of fit. In addition, purchase intentions were measured as opposed to the study of actual purchase behaviour. Practical implications This research has important implications for the development of endorsements and celebrity brands by demonstrating that consumers view celebrities as authentic when they are involved with brands for reasons other than monetary compensation. Originality/value This research shows that consumers have heightened attitudes and intentions towards celebrity brands compared to endorsements. This research identifies celebrity authenticity as the process underlying the observed phenomenon. However, celebrity investment is identified as a boundary condition demonstrating that knowledge of low investment results in a celebrity being viewed as inauthentic.

In this article, I present two broad types of postchoruses determined according to the rhetorical role of closing material and the particular placement of buildup and climax over the course of the chorus and postchorus. The codetta-type postchorus is characterized as an independent section of music featuring closing material that follows the attainment of closure in the chorus. The anthem-type postchorus is an independent and climactic section of music that follows a building chorus. For this study, 1335 Top-40 songs from 2010 to 2015 were surveyed. Of these songs, 13.3% had a postchorus. Examples discussed in this article include “Roar” by Katy Perry (2013), “Undo It” by Carrie Underwood (2010), “Party Rock Anthem” by LMFAO (2011), “I Need Your Love” by Calvin Harris ft. Ellie Goulding (2012), “La La La” by Naughty Boy ft. Sam Smith (2013), and “Animals” by Maroon 5 (2014).

[...]if you don't read that, how about the contract for a job that you may have for the rest of your natural life? I speak to residents and fellows about jobs from time to time, and I get the impression that we have been trained to ignore little things like, oh...contracts. [...]when your new group capo says, oh, by the way, it's about time for you to pack for that extended stay in Kuala Lumpur where you'll be reading the overnight chest films, don't seem surprised.

In popular and scholarly discourse on texted music and music-speech intersections, the prevailing assumption is that the linguistic features of the lyrics (e.g., syllabic stress) align with the way the lyrics are sung (e.g., phenomenal accent in or affecting the melody)—or, if not, that they should. However, not only can text and music conflict, but they do so in a variety of ways, to varying degrees, and with different effects on our listening experience. I define prosodic dissonance as any conflict between the prosodic linguistic features and musical rendition of text. This could include misalignment between syllabic and durational/registral stress, between spoken and sung phrases, or between spoken and sung intonation. Prosodic dissonance/consonance can also interact with rhyme, vowel shape, parallelism, and syncopation. To recognize prosodic dissonance, I (1) determine the prosody for the lyrics as spoken, (2) determine the prosody for the melody as sung, (3) identify mismatches as dissonances, (4) consider the effect of the surrounding melody/lyrics, (5) consider alternate pronunciations or hearings that might account for it, and (6) consider the perceptual and analytical implications. This article focuses on prosodic dissonance in popular music, with longer analyses of Kesha’s “Tonight” (2020), Royal & the Serpent’s “Overwhelmed” (2020), and Rina Sawayama’s “This Hell” (2022).

The agreement included Springsteen's recordings and his songwriting rights.5 The deal gave Sony complete rights over songs such as 'Born in the USA,' 'The River,' or 'Born to Run.6 o December 2020 - Universal announced that it had purchased Bob Dylan's entire publishing catalog, encompassing more than 600 copyrights for $300 million.7 Following that, in January 2022, Sony announced that it had acquired Dylan's entire back catalog of recorded music, as well as the rights to multiple future new releases for $200 million.8 o September 2022 - Concord Music Group Inc., disclosed that it had purchased the publishing copyrights and a mix of recorded music masters and income streams from Genesis bandmates Phil Collins, Mike Rutherford and Tony Banks. The deal included publishing rights for hit singles like 'Heroes,' 'Space Oddity,' 'Let's Dance,' 'Ziggy Stardust,' and 'Under Pressure.' Besides the rights for all the 26 studio albums released by Bowie during his career, the deal also included rights for his earlier work.10 o September 2023 - Litmus Music announced that it had agreed to a \"creative partnership\" with Katy Perry covering all five of Perry's studio albums released by Capitol Records between 2008 and 2020.u According to Variety and other outlets, Perry had sold her stakes in both the master recordings and the publishing rights to the songs on the albums for $225 million.12 The Perry catalog includes hits 'California Girls,' 'Firework,' 'Roar' and T Kissed a Girl,' the song that brought Perry global fame and notoriety. o January 2023 - Hipgnosis Song Management said that it had acquired all of Canadian pop star Justin Bieber's publishing rights and master recordings, making up over 290 titles released before December 31, 2021. Fifth Third Bank National Association, The Booming Business of Music Catalog Sales, Fifth Third Bank - Markets & The Economy (Feb.14, 2024), https://www.53.com/content/fifth-third/en/financial-insights/business/mar-kets-economy/booming-business-of-music-catalog-sales.html 3.