Radio Conference 2016 refs

References and wider reading for “Worldwide, Always On: Beats 1 as Transnational radio” a paper at the The Radio Conference, 6th July 2016.

• Albarran, A. & Pitts, G. (2001). The Radio Broadcasting Industry. Needham Heights, MA: Allyn & Bacon.
• Anderton, C., Dubber, A. and James, M. (2013). Understanding the music industries. London, Sage
• Ahlkvist, Jarl:(2001) “programming philosophies and the rationalisation of music radio” in Media, Culture and Society, Volume 23 pp 339-358
• Ahlkvist, J. & Fisher, G. (2000). And the hits just keep on coming: Music programming standardization in commercial radio. Poetics. 27 (5-6). pp. 301-325.
• Ala-Fossi, Marco; Lax Stephen; O’Neill, Brian; Jauert, Per and Shaw Helen (2008) “The Future is Still Digital – But Which One? Expert Perspectives and Future Scenarios for Radio Media in 2015” in Journal of Radio and Audio Media Volume 15(1) pp4-25
• Baker, Andrea (2012) “Virtual Radio Ga-Ga: Youths, and Net-radio: Exploting subcultural models of audiences” New York, Hampton Press
• Balaji, Murali (2012) “The Construction of ‘Street Credibility’ in Atlanta’s Hip-Hop Scene: Analysing the Role of Cultural Gatekeepers” in Critical Studies in Media Communication, Volume 29(4) pp313-330
• Barnes, K. (1988). Top 40 Radio. In: S. Frith (ed.). Facing the Music. New York/Toronto: Random House, pp. 8 – 50.
• Berland, Jody (1990) “Radio Space and Industrial Time: Music Formats, Local Narratives and Technological Mediation” in Popular Music, Volume 9(2) pp 179-192
• Bolter, J. & Grusin, R. (1999). Remediation. Cambridge, Mass.: MIT Press.
• Bottomley, A. (2015). Podcasting, Welcome to Night Vale , and the Revival of Radio Drama. Journal of Radio & Audio Media. 22 (2). pp. 179-189.
• Cooper, B. (2016). Radio must adapt to young Britain – or face death. [Online]. 2016. RadioTimes. Available from: http://www.radiotimes.com/news/2016-06-29/radio-must-adapt-to-young-britain–or-face-death?. [Accessed: 30 June 2016].
• Cragg, Michael.(2015) “Zane Lowe: ‘Beats 1 Is The Common Room For The Future Pop Rebels’“. the Guardian. N.p., 2015. Web. 2 June 2016.
• Fact  (2015). Major labels dominated the first day of Beats 1 programming. [Online]. 2015. FACT Magazine: Music News, New Music. Available from: http://www.factmag.com/2015/07/01/major-labels-dominated-the-first-day-of-beats-1-programming/. [Accessed: 21 June 2016].
• Ferraz, Tommy. (2015)“After The Non-Linear Radio — Innovation In Radio”. Medium. N.p., 2015. Web. 16 June 2016.
• Fisher, M. (2007). Something in the air. New York: Random House.
• Gladwell, M. (2000). The tipping point. Boston: Little, Brown.
• Glantz, Mark. (2016) “Internet Radio Adopts A Human Touch: A Study Of 12 Streaming Music Services”. Journal of Radio & Audio Media 23.1: 36-49. Web.
• Grow, K. (2015). Trent Reznor on Apple Music: Other Services ‘Left Me Feeling Lacking’. [Online]. 2015. Rolling Stone. Available from: http://www.rollingstone.com/music/news/trent-reznor-on-apple-music-other-services-left-me-feeling-lacking-20150630. [Accessed: 23 June 2016]..
• Hennion, A. & Meadel, C. (1986). Programming music: radio as mediator. Media, Culture & Society. 8 (3). pp. 281-303.
• Hilmes, Michelle (2004) “Foreword: Transnational Radio in The Global Age” in Journal of Radio Studies Volume 11 (1) iii-vi
• Hilmes, M (2013). The New Materiality of Radio. In: M. Hilmes & J. Loviglio (ed.). Radio’s New Wave: Global sound in the digital era. Abingdon: Routledge, pp. 43-61.
• Jones, Damian.(2015)  “Zane Lowe: ‘Beats 1 Is Like A Baby, It Makes A Lot Of Noise And Shits Everywhere’ | NME.COM”. NME.COM. N.p., 2016. Web. 2 June 2016.
• Lacey, K. (2013). Listening in the digital age. In: M. Hilmes & J. Loviglio (ed.). Radio’s New Wave: Global sound in the digital era. Abingdon: Routledge, pp. 9-23.
• MacFarland, D. (1995). Rethinking the hits: Why top 40/chr is no longer the dominant radio music format. Journal of Radio Studies. 3 (1). pp. 32-40.
• MacFarland, D. & MacFarland, D. (1997). Future radio programming strategies. Mahwah, N.J.: Erlbaum.
• Morris, J. & Powers, D. (2015). Control, curation and musical experience in streaming music services. Creative Industries Journal. 8 (2). pp. 106-122.
• Mytton, G. & Forrester, C. (1988). Audiences for International Radio Broadcasts. European Journal of Communication. 3 (4). pp. 457-481.
• Priestman, C. (2002). Web radio. Oxford: Focal.
• Razlogova, E (2013). The Past and Future of Music Listening: Between Freefrom DJ’s and Recommedation Algorithms. In: M. Hilmes & J. Loviglio (ed.). Radio’s New Wave: Global sound in the digital era. Abingdon: Routledge, pp. 62-76
• Spotify for Brands / TNS (2016).
  • “The New Audio: Reaching The Spotify Listener In The US“. [Accessed: 16 June 2016.]
  • The New Audio: reaching the Spotify listener in Europe 2016. . [Accessed: 30 June 2016].
• Stiernstedt, F. (2014). The Political Economy of the Radio Personality. Journal of Radio & Audio Media. 21 (2). pp. 290-306.
• Taylor, Steve (2003)’ I am what I play’: the radio DJ as cultural arbiter and negotiator” in Beck, A (Ed) “Cultural Work: Understanding the cultural industries” pp73-100, London, Routledge
• Tepper, S. & Hargittai, E. (2009). Pathways to music exploration in a digital age. Poetics. 37 (3). pp. 227-249.
• Wall, T. (2004). The political economy of Internet music radio. Radio Journal:International Studies in Broadcast & Audio Media. 2 (1). pp. 27-44.
• Wall, T. & Dubber, A. (2009). Specialist music, public service and the BBC in the Internet age. Radio Journal:International Studies in Broadcast & Audio Media. 7 (1). pp. 27-47.

Thank you for attending the paper. Comments have been enabled for your thoughts, or please tweet me. I was supported in attending this event with funding from the Centre for Research in Media and Cultural Studies at the University of Sunderland