Whilst it shouldn’t surprise us that the ‘acting elite’ have had singing experience throughout their time in drama school, it’s still a surprise to hear your most-loved screen idol belt out a few notes that would make Taylor Swift nervous.
So, here are twenty actors who, through good genes and hard work, also happen to be impressive singers. Don’t believe us? Search for them on YouTube.
20. Joseph Gordon-Levitt
19. Chris Pine
18. Scarlett Johansson
17. Ewan McGregor
16. Zachary Levi
15. Amy Adams
14. Ryan Gosling
13. Zooey Deschanel
12. Arthur Darvill
11. Jonathan Rhys Meyers
10. Patrick Wilson
9. Anna Kendrick
8. Jeremy Renner
7. Aaron Taylor-Johnson
6. Ann Hathaway
5. Iwan Rheon (MisFits, Game of Thrones)
4. Eddie Redmayne
3. Emilia Clarke
2. Scott Bakula
1. Robert Downey Jr. (Ally McBeal days)
In the world of hip hop, many artists have adopted “Lil,” a popular prefix typically perceived as the short form of “little,” as part of their stage names.
Some of the better known users of Lil are anything but when it comes to success, having put up big time sales, while others are … well, Lil known.
From bona fide hit-makers to those we’ve only heard of because they crash with Justin Bieber, let’s take a look at 13 rappers who go by Lil below!
Lil’ Bow Wow (now just ‘Bow Wow’)
Lil’ Snupe (R.I.P)
Listening to hip-hop music, it’s easy to believe that just about every rapper shares the same come-up story. They grew up in the ‘hood, at some point resorted to selling drugs, launched a career rapping about said drug life and voila! Made it big.
And while that may have been the case for a number of artists like Biggie, Nas, Jay Z and 50 Cent, the reality is, when it comes to being an MC, struggle isn’t always in the equation.
Check out our list of 10 Rappers Who Were Born Rich.
Jaden Smith (son of Will and Jada Smith)
Ricky Hil (son of Tommy Hilfiger)
OMG (son of Ice Cube)
Lil’ Romeo (son of Master P)
JoJo and Diggy Simmons (sons of Rev Run from RUN DMC)
Chet Haze (son of Tom Hanks)
Gabe Day (son of Daniel Day Lewis)
We are mid way through the shift from the distribution era of selling units of stuff, be they newspapers, CDs, packaged games, books or DVDs, to the consumption era where consumers increasingly value access over ownership. This shift manifest itself as a meltdown of the traditional media industries and associated retailing channels. Out of the ruins of these crumbling nation states Amazon, Apple and Google have started to construct sprawling digital content empires.
Until relatively recently it looked like Apple was the only company that had learned how to make digital content works as a business, albeit as a loss leading one. But during the last year the market has inevitably buckled under the pressure of Amazon’s willingness to give away access to content as bait for free shipping and Google’s endless appetite for giving content away for consumer data.
Amazon and Google realized they were never going to win if they played the game by the Apple’s rules, which had been transplanted from the analogue age, namely charging for ownership of content. Instead they have opted for the digital zeitgeist: free, or at least feels like free. It is beginning to look like iTunes was a historical anomaly, an isolated outpost for distribution era practices in the digital realm. What Amazon and Google have done is pick up the baton Napster dropped in the early 2000’s and they have run with it.
spotted: music industry blog
Recorded music is still the main way people interact with music
Whether it be on the radio, YouTube, Spotify, an iTunes or a CD, the vast majority of consumers spend the vast majority of their music consumption time with the recorded product not the live product. In fact just 15% of people regularly go to gigs.
And even for these consumers live is, in terms of total time spent, just a small fraction of their music consumption. So labels are faced with paradox of making less money from artists yet those same artists still needing the recording in order to drive live and merch income. This is why we ended up with 360 deals.
Much of the market growth didn’t make it down to artists: The live music value chain is an incredibly complex one with multiple stakeholders taking their share (ticketing, secondary ticketing, venues, booking agents, promoters, tax, expenses etc.)
The share of live revenue that artists make from live has declined every year since 2000. The impact on the total market is that total artist income (i.e. from all revenue sources) has declined every year too since 2009.
Source: Music Industry Blog