Media Life is a course intended for undergraduate students across campus. Its goal is to make people aware of the role that media play in their everyday life. The key to understanding a "media life" is to see our lives not as lived WITH media (which would lead to a focus on media effects and media-centric theories of society), but rather IN media (where the distinction between what we do with and without media dissolves). Please note: this slideshow is created by Eric Harvey (http://www.marathonpacks.com/).

1. Our Band Could Be Your Life: Fandom and the State of the Music Industry Eric Harvey Department of Communication and Culture

9. 1983-2000: Music Industry Boom

10. 1983-2000: Music Industry Boom Pop Video Superstars Prince, Madonna, Bruce Springsteen, Duran Duran

12. Higher price than LPs

14. Taylor Swift Fearless(1.9m, 11/08-11/09)

15. Bruce Springsteen Born in the USA(10m, ‘84-’85)

16. Hootie & the Blowfish Cracked Rear View(10m, ‘95)

17. Alanis MorrissetteJagged Little Pill(15m, ‘95)

18. Backstreet Boys Millenium(2.2m, Two Weeks, ‘99)

19. Backstreet Boys Millenium(2.2m, Two Weeks, ‘99) N*Sync No Strings Attached(2.3m, Two Weeks, ‘00)

20. Michael Jackson Thriller(30m, ‘83-’84)

22. The mp3 Story

23. The mp3 Story 1988: the Motion Picture Experts Group (MPEG)

24. The mp3 Story 1988: the Motion Picture Experts Group (MPEG) 1989: “MPEG-1 Audio and Video”, in use by 1992

25. The mp3 Story 1988: the Motion Picture Experts Group (MPEG) 1989: “MPEG-1 Audio and Video”, in use by 1992 1992-93: “SoloH” hacks into server, acquires MPEG, rips third layer from it (MPEG, Layer 3)

27. Geffen Records Executive, 1997: Geffen "doesn't see MPEG as a problem. We like anything that increases the ability of consumers to listen to high-quality music, and if that means on their computer, that's fine, too. We're actually working on ways to program for it and to provide material in this format because consumers are making it clear that this is a format they like."

28. Orrin Hatch, 2003:

29. Orrin Hatch, 2003: “Warning” copyright infringers

30. Orrin Hatch, 2003: “Warning” copyright infringers Destroying their computers

31. Orrin Hatch, 2003: “Warning” copyright infringers Destroying their computers “If that's the only way, then I'm all for destroying their machines. If you have a few hundred thousand of those, I think people would realize the seriousness of their actions.”

32. Napster (1999-2002)

33. Industrial/ “Top-Down” Model of Distribution

35. Networked Model of Distribution

36. Networked Model of Distribution

37. Middlemen

42. New Digital Strategies bonus material in the official release early access digital/vinyl combinations

46. Autonomy: How It’s Achieved Digitally

47. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version

48. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets

49. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets a. Myspace

50. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets a. Myspace b. Blogs

51. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets a. Myspace b. Blogs c. Critics

52. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets a. Myspace b. Blogs c. Critics 3. Trustworthy, connected people

53. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets a. Myspace b. Blogs c. Critics 3. Trustworthy, connected people 4. Selectively send press releases, music samples, links to streaming album

54. Autonomy: How It’s Achieved Digitally 1. Record the music, master a digital version 2. Become acquainted with online music outlets a. Myspace b. Blogs c. Critics 3. Trustworthy, connected people 4. Selectively send press releases, music samples, links to streaming album 5. Pray

55. Convergence Culture

56. Digital Music Fandom Labels: Fans as free labor? Tech companies: Fans as data sources? Digital Rights Management: Fans as criminals?

58. FANS: The New Middlemen