Core Viewpoint - Goldman Sachs has raised the target price for Tencent Music from HKD 60.4 to HKD 82 and reiterated a "Buy" rating, indicating confidence in the company's growth potential and strategic direction [1] Revenue and Profit Forecasts - Revenue forecasts for the years 2025 to 2027 have been adjusted upward by 0.5% to 3.9%, while non-GAAP net profit forecasts have been increased by 0% to 4% [1] Strategic Acquisitions - The report highlights Tencent Music's recent acquisitions of SM Entertainment and Ximalaya, suggesting that the company is focused on enhancing its music content and services beyond just streaming, aligning with its long-term strategy to expand across the entire music industry value chain [1] Financial Health - Goldman Sachs believes that Tencent Music's strong cash flow and healthy balance sheet indicate low risk regarding the company's shareholder return policy [1]

文 | 白杨 松花江畔的凌晨，数十位五月天的忠实歌迷在演唱会结束后，自发聚集在岸边。他们齐声合唱着偶像的 歌曲，在晨光熹微之中，他们手中橙色的胡萝卜玩偶"卜卜"，成为了合影的绝对主角，也承载着歌迷们 对偶像的痴迷和热爱。 不远处，中央大街上正重现着五月天《时光机》MV的拍摄场景。歌迷们将"卜卜"置于镜头中心，复刻 着偶像曾停留的每个角落。 MOJO家族巴士车 白杨/摄 2023年的夏天，五月天主唱阿信用系统默认的胡萝卜头像登陆小红书冲浪时，或许未曾想到，这个看似 随意的举动，竟会催生出一个价值数亿的IP生意。当他顶着乱码的名字，被粉丝们亲切地调侃为"台湾 佩 胡萝卜"时，一场明星与粉丝的共创IP实验已然悄然开启。 其潮流品牌STAYREAL敏锐地捕捉到这个意外诞生的情感连接点，迅速将胡萝卜转化为实体玩偶，并 命名为"魔魔胡胡胡萝卜"（以下简称"卜卜"）。2024年5月，该品牌推出的MOJO CARROT毛绒公仔在 五月天鸟巢演唱会期间正式亮相，随后又衍生出MOJO家族系列玩偶，涵盖了香蕉、番茄、樱桃、柠 檬、青苹果等多种造型，深受歌迷们的喜爱。 在索菲亚教堂广场，歌迷们兴奋地将"卜卜"抛向空中，在它坠落的瞬间 ...

Core Viewpoint - The article emphasizes the need for both tolerance and active guidance in the cultural expressions of young people, allowing youth and internet culture to maintain vitality while achieving spiritual elevation and value sedimentation [1][3]. Group 1: Cultural Expression and Youth Engagement - The recent adaptation of the song "Li Bai" by young singers has sparked heated discussions on social media, highlighting the contrasting views on its artistic merit and cultural relevance [1][2]. - The shift in music appreciation among young people has moved from merely enjoying melodies to seeking personal connections with the music, reflecting their age, experiences, and life situations [1][2]. Group 2: Interaction Between Art and Society - The evaluation of artistic works like "Li Bai" now encompasses not only artistic and innovative aspects but also personal life experiences, emotional values of youth, and the symbolic significance of traditional cultural icons [2]. - The complexity of the interaction between artistic works and social life has increased, making the realization of value a collaborative effort among creators, viewers, and platforms [2]. Group 3: The Role of Digital Platforms - The rise of short videos, live streaming, and AI-generated content has democratized artistic creation, allowing young people to express themselves without professional training, leading to diverse forms of artistic acceptance [2]. - In the new public artistic ecosystem where "everyone can be artistic," contemporary audiences, especially the youth, are accustomed to intertwining life and art, expressing their attitudes, values, and spiritual needs through artistic creation [2]. Group 4: Guiding Youth Expression - It is crucial to recognize that young people are in the process of establishing their worldviews, and their expressions are evolving from "deconstruction" to "reconstruction," reflecting their search for self-identity [3]. - There is a need to provide both a space for tolerance and active guidance in youth cultural expressions, ensuring that the vibrancy of youth and internet culture can lead to lasting values and personal growth [3].

心相近丨让珍贵记忆代代相传——冼星海和拜卡达莫夫兄弟情谊融入新时代中哈友好宏大乐章 新华社记者赵嫣 赵宇 陆浩 习近平主席曾多次讲述一段感人的中哈友谊故事："80多年前，中哈两位音乐家冼星海和拜卡达莫 夫在阿拉木图相识相知，结下了跨越国界的兄弟情谊。""在举目无亲、贫病交加之际，哈萨克音 乐家拜卡达莫夫接纳了他，为他提供了一个温暖的家。" 今年是冼星海诞辰120周年。拜卡达莫夫的女儿巴德尔甘·拜卡达莫娃已年近八旬，大病初愈的她 在阿拉木图的家中接受了新华社记者的采访。 拜卡达莫娃说，冼星海曾向她们一家反复讲起自己的两个心愿：一是希望能够找到他的家人，告 诉他们自己在阿拉木图的日子；二是希望能把他最后的作品带回中国。"关于这两个心愿的故事延 续至今，足以说明真挚的友谊能跨越时空、生生不息。" "一个哈萨克斯坦－中国大家庭" 1940年5月，冼星海从延安前往苏联，为纪录片《延安与八路军》进行后期制作。1941年，受战争 影响，影片制作陷入停顿，冼星海回国受阻，1942年底辗转来到阿拉木图，可依然找不到回国的 办法。素昧平生的拜卡达莫夫向他伸出了援手。 那是一个冬日，拜卡达莫夫在街头看到一个身材消瘦、衣衫单薄的年轻 ...

Core Viewpoint - G.E.M. (邓紫棋) released a re-recorded album titled "I AM GLORIA," which includes her representative works, amidst a long-standing copyright dispute with her former label, Hummingbird Music [1][5][6]. Group 1: Background of the Re-recorded Album - The re-recorded album is a response to a copyright statement issued by Hummingbird Music, which claimed ownership of over 100 songs released during G.E.M.'s contract with them [6][7]. - G.E.M. revealed that her first contract, signed at age 15, was a buyout agreement, resulting in her losing ownership of her works despite retaining the right to be credited as the author [7][8]. Group 2: Legal Framework and Challenges - G.E.M.'s legal team found a basis for re-recording under Article 42 of China's Copyright Law, allowing recording producers to use previously recorded music without the copyright owner's permission, provided they pay reasonable compensation [8][10]. - The re-recorded album allows G.E.M. to regain control over the distribution of her works' income, which had previously been a source of frustration due to the lack of royalties from her past works [10][12]. Group 3: Industry Context and Implications - The struggle for control over recording rights is a significant challenge in the music industry, where record labels typically retain ownership of the master recordings, making it difficult for artists to reclaim their rights [12][13]. - The situation reflects a broader trend in the music industry where artists are increasingly aware of their rights and are taking steps to regain control over their works, as seen with other artists like Taylor Swift [15][16]. Group 4: Artist Empowerment and Industry Evolution - G.E.M.'s actions symbolize a growing awareness among artists regarding their rights, emphasizing that music is not just a product but an extension of their identity and creative sovereignty [16][17]. - The industry is witnessing a shift where artists are challenging traditional copyright systems through re-recording, repurchasing, and independent releases, aiming to highlight the importance of creative ownership [16][17].

Core Viewpoint - The ongoing copyright dispute between G.E.M. (邓紫棋) and Hummingbird Music highlights significant issues in the music industry regarding copyright ownership, royalty distribution, and trademark rights, prompting calls for reform in industry contracts and legal frameworks [1][2][4]. Group 1: Copyright Dispute Overview - G.E.M. has not received royalties for her old songs for over six years due to a problematic contract signed at age 15, which transferred rights to 103 original songs to Hummingbird Music [1]. - The dispute has drawn attention to the complexities of music copyright, including the separation of rights among songwriters, performers, and producers, and the exploitation of vague contract terms by companies [2][3]. Group 2: Legal Framework and Solutions - The key to resolving the dispute lies in G.E.M.'s membership in the Hong Kong Composers and Authors Society (CASH), which allows her to retain certain rights over her works despite Hummingbird's claims [2]. - The flexibility of China's Copyright Law enables G.E.M. to re-record her songs without Hummingbird's permission, as long as no prohibitive statements were made during the original release [3]. Group 3: Recommendations for Industry Reform - The dispute serves as a catalyst for restructuring industry contracts, emphasizing the need for clear rights delineation, detailed royalty distribution, and proactive protection of artists' names [4][5]. - Recommendations include mandatory rights lists in contracts, differentiated royalty structures based on usage scenarios, and a dual-track system for payment and dispute resolution to ensure transparency and accountability [5][6]. - Proposals for trademark rights include ensuring that artists retain ownership of their stage names, with strict penalties for companies that attempt to register these names without consent [5][6].

圣路加医院高级治疗师卡梅莉亚·孙专注临终与失智照护。孙曾接诊一名患神经系统疾病的孤僻临终老者。3个月的灵性音 乐治疗中，老人虽无法说出触动他的曲目名称，却逐渐能唤出治疗师名字，还称自己"如释重负"。临终前，他主动分享 刘德华的《天意》和比吉斯的《五月情怀》两首关于时光与失去的歌曲。 音乐治疗师的患者并不仅是老年人。在太和观慈善机构，治疗师法哈娜·瑞扎妮通过乐器演奏、音乐绘本等活动，帮助发 育障碍儿童克服恐惧，最终他们能随音乐玩"躲猫猫"游戏。 "音乐是双刃剑"，谭雪丽表示，某些与痛苦经历相关的歌曲可能会引发负面情绪或创伤性记忆。正因如此，音乐治疗师 需要接受专业培训，以评估每个人的情绪状态和心理状况。AMTS近年来还发布了多项公共资源，其中包括《职业道德与 专业标准守则》。 在新加坡这个常回避负面情绪的社会，谭雪丽认为音乐治疗提供了情感表达通道。巴克提则期待探索多元文化在治疗中 的应用，如马来音乐的社群凝聚力，或中国五声音阶的情绪诱导作用。正如孙所言："我们天生都具有音乐感知力。即使 不会演奏乐器或唱歌，也能与音乐建立深层连接。"（作者克莉斯蒂·邱，林悦译） 新加坡《海峡时报》 6 月 11 日文章，原题：当 ...

以下文章来源于那个NG ，作者黄瓜汽水 那个NG . 用关注决定视界｜复杂世界的策展人 出品 | 虎嗅青年文化组 作者 | 黄瓜汽水 编辑、题图 | 渣渣郡 本文首发于虎嗅年轻内容公众号"那個NG"（ID：huxiu4youth）。在这里，我们呈现当下年轻人的面 貌、故事和态度。 "你醒啦，现在是2008年的午后。你刚刚好像做噩梦了，一直在说着什么房贷加班这些乱七八糟的东 西。" 那个无数人想回去的2008年午后，有蓝色玻璃的单元楼，有刚刚打开包装的绿舌头，电视机里还在 播放北京奥运会。 那一年，你躲在教室后排，和同桌分享有线耳机。 你拿着那支用压岁钱买的MP5，看到了大洋彼岸有一个银发烟熏妆的女人又唱又跳，后来你知道她 有个奇怪的名字叫Lady Gaga。高中毕业那年的暑假，同学们一起在KTV合唱Poker Face，喝着嘉士 伯啤酒。 当时的你并不知道，你正处在这个世界的黄金年代。 这些年，对于不熟悉欧美音乐的朋友们来说，那个怪诞浮夸的Lady Gaga像是消失了。 在抖音，你甚至能看到年轻人开始翻拍Lady Gaga的演唱会片段。如此古早的欧美diva也是好起来 了。 上个月，Lady Gaga在新加坡 ...

Core Viewpoint - Lady Gaga's return to the stage symbolizes a potential economic recovery, as her performances resonate with the cultural and emotional landscape of the current times, reminiscent of the post-2008 financial crisis era [5][51][58]. Group 1: Lady Gaga's Cultural Impact - Lady Gaga's unique style and music have made her a cultural icon, particularly during economic downturns, where her songs provided a sense of escapism and hope [10][53]. - The nostalgia associated with Lady Gaga's music reflects a longing for the past, particularly among those who grew up during her rise to fame, indicating a cyclical nature of cultural memory [62][41]. - Her performances, such as the recent one at Coachella, have been described as epic and reminiscent of her earlier work, showcasing her ability to blend art and music in a way that captivates audiences [16][27]. Group 2: Economic Indicators and Music - The concept of "skirt index" suggests a correlation between women's fashion and market trends, indicating that Lady Gaga's performances may signal a bullish market [51]. - The emergence of "recession pop" music during economic downturns highlights how artists like Lady Gaga create music that resonates with the struggles of the times, encouraging people to dance and celebrate despite hardships [53][58]. - Historical patterns show that during economic challenges, upbeat and danceable music tends to dominate the charts, as people seek comfort and joy through music [60][61]. Group 3: Generational Influence - Lady Gaga's influence extends beyond music; she has become a symbol of empowerment and self-acceptance for many, particularly among marginalized groups [50][42]. - The nostalgia for Lady Gaga's music among millennials and Gen Z reflects a shared cultural experience that shaped their identities during formative years [49][62]. - The resurgence of interest in her music and performances indicates a desire for connection to a more optimistic past, as current generations navigate uncertain futures [64][78].

以下文章来源于价值星球Planet ，作者方歌 价值星球Planet . 透视内容本质，解锁商业价值 本文来自微信公众号： 价值星球Planet ，作者：方歌，编辑：李小天，题图来自：AI生成 《歌手2024》的突围，某种程度上是大众对专业度不够的歌手以及所谓的行业门槛的反扑与抵抗 ——直播和现场才意味着"专业歌手"的含金量。因此它成为了大众情绪和行动的粘合剂，呈现出了罕 见的全民性。 但这样的成功难以复刻。 一个残酷的事实是，在无意识地将大众以音乐审美为参考因素分割甚至对立之后， 音综又在被审美 和流量驯化。 音综的"自我"，正在消亡 音综曾经是国产综艺的里程碑。 单依纯"疯"了。 《歌手2025》最新一期，单依纯演唱新版《李白》拿下第二名。一句魔性的"如何呢又能怎"和破音 式嘶吼，让这首《李白》被调侃为新晋高考禁曲。 在所谓的全民狂欢中，数据却悄悄地揭露了残酷真实。 据酷云数据，《奔跑吧》第九季以峰值0.87，平均值0.74稳居卫视综艺收视榜首位，胜过《歌手 2025》。 这个六月，四档音综同时竞技，却似乎没有赢家。 图源：微博@传媒挑战者 音综的出现往往有着时代因素。之前是青年文化风潮的觉醒，是流媒、盗 ...