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This essay explores how the very idea of music radio has changed profoundly in the last decade. It offers examples of the ways in which traditional music radio services have attempted to negotiate a move to online listening, along with a more detailed investigation of the new music services, which mimic or modify the radio listening experience. We must be careful, however, to avoid the assumption that it is the technologies themselves that determine the way music radio and radio-like music services have developed. In many ways, the listener experience of services like Last.fm is superficially similar to that produced by an over-the-air radio station, but its differences—a personalized stream of music without DJ interpellations—represent a revolution in music radio practice. Last.fm's radio-like music streaming service, for instance, was built upon the idea of bespoke playlists created from shared listener "musical maps." These and other changes are indexical of fundamental shifts in the way that the political economy organizes the production, distribution, and consumption of culture ; Este ensayo explora cómo la idea de la radio musical ha cambiado profundamente en la última década. Ofrece ejemplos de la forma en que los servicios de radio musical tradicionales han tratado de negociar su transmisión vía internet; junto con una investigación más detallada de los nuevos servicios de música, los cuales imitan o modifican la experiencia de escuchar radio. No obstante, debemos ser cuidadosos para evitar el supuesto de que son las propias tecnologías las que determinan la forma en que se han desarrollado la radio musical y los servicios de radio vía internet. En muchos sentidos, la experiencia del escucha de servicios como Last.fm es superficialmente similar a la generada por una estación de radio tradicional, pero sus diferencias –una transmisión continua de música sin interrupciones de DJ– representan una revolución en la radio musical. Por ejemplo, el servicio de streaming de música de Last.fm se basó en la idea de listas de reproducción personalizadas creadas a partir de "mapas musicales" compartidos. Estos y otras modificaciones son indicadores de cambios fundamentales en la forma en que la economía política organiza la producción, la distribución y el consumo de la cultura.

"This thoroughly revised and updated third edition provides a comprehensive introduction to the various approaches to the field, explaining why media messages matter, how media businesses prosper and why media is integral to defining contemporary life. The text is divided into three parts - Media Texts and Meanings; Producing Media; and Media and Social Contexts - exploring the ways in which various media forms make meaning; are produced and regulated; and how society, culture and history are defined by such forms. Encouraging students to actively engage in media research and analysis, each chapter seeks to guide readers through key questions and ideas in order to empower them to develop their own scholarship, expertise and investigations of the media worlds in which we live. Fully updated to reflect the contemporary media environment, the third edition includes new case studies covering topics such as Brexit, podcasts, Love Island, Captain Marvel, Black Lives Matter, Netflix, data politics, the Kardashians, President Trump, 'fake news', the post-Covid world and perspectives on global media forms. This is an essential introduction for undergraduate and postgraduate students of media studies, cultural studies, communication studies, film studies, the sociology of the media and popular culture"--