Podcasts about audio revolution

Welcome to "This is My Podcast Show - Rajni Yadav", the show that's about to change your life in 2024!

In this engaging episode, we feature Bradley Metrock, the host of "This Week in Voice," as he shares his insights on the audio revolution driven by artificial intelligence. Join us for a compelling conversation about the transformative impact of AI on the world of audio, including voice technology, podcasts, and more. Explore the exciting potential of AI in reshaping how we engage with and create audio content in this must-listen podcast. Get on the AI Box Waitlist: https://AIBox.ai/Join our ChatGPT Community: ⁠https://www.facebook.com/groups/739308654562189/⁠Follow me on Twitter: ⁠https://twitter.com/jaeden_ai⁠

In this episode, we delve into Meta's groundbreaking release of a multisensory AI system that encompasses thermal, depth, visual, movement, text, and audio capabilities. Join us as we explore how this innovation is set to redefine the landscape of augmented reality and immersive experiences. Discover the potential applications and implications of Meta's latest development in this immersive discussion. Get on the AI Box Waitlist: https://AIBox.ai/Join our ChatGPT Community: ⁠https://www.facebook.com/groups/739308654562189/⁠Follow me on Twitter: ⁠https://twitter.com/jaeden_ai⁠

In this episode, we delve into Bradley Metrock's (host of This Week in Voice) views on the audio revolution driven by AI. We discuss the implications of rapidly evolving voice technologies for consumers, businesses, and ethical considerations. Get on the AI Box Waitlist: ⁠https://AIBox.ai/⁠ Facebook Community: ⁠⁠https://www.facebook.com/groups/739308654562189/⁠⁠ Discord Community: ⁠https://aibox.ai/discord⁠ Follow me on X: ⁠https://twitter.com/jaeden_ai⁠

For digital marketers, audio isn't just a cheaper channel. The impact of audio in our lives is bigger than ever, according to Spotify's Head of Sales, UK & Northern Europe, Ed Couchman. On the Shiny New Object Podcast, he shares insights around how listeners are bringing audio into everyday activities and how marketers can take advantage of a subtle new way of advertising.The Shiny New Object podcast is a production of Automated Creative, a creative effectiveness platform that turns brands' media impressions into marketing intelligence. Find out more at www.automatedcreative.net

“One of the things that you and I had been talking about is this idea of creating a successful relationship from beginning to end… We want the content creator to be rewarded. We want the ad seller to be rewarded, and we want the advertiser to be rewarded. It has to be a win across the board.” In today's episode of The Podcast Advertising Playbook, Heather is joined by Jay Green. Jay is the SVP, Podcast Strategy & Operations at Cadence13 and has great experience in the advertising space. Heather and Jay discuss: -   What to look out for when tracking your ad campaign.   -   Audio vs. video, do you need both? -   The difference between host-read ads and announcer-read ads. -   How to successfully test your advertising campaign. -   The role of programmatic ads. -   2023 Predictions Ready to learn more? Check out our blog for more podcast advertising tips.  If you get value from the content, please consider subscribing and leaving a review! You can also follow us on social media Twitter - @truenativemedia Instagram - @truenativemedia YouTube - True Native Media LinkedIn - Heather Osgood | True Native Media | Podcast Advertising Playbook

Episode 107: In this Equestrian Author Spotlight podcast episode, you'll meet Brett Wilson of SkyDance Mountain Audiobooks.   Brett is in the business of audiobook production from start to finish. His company, SkyDance Mountain Audiobooks, helps authors design, create, produce, publish, market and sell their audiobooks.   Saddle up for a conversation about the audio revolution, audiobook production best practices, and what an author needs to know in order to create a quality audiobook on a budget. Show notes: https://www.carlykadecreative.com/blog/episode-107-on-audiobooks-production-best-practices-the-audio-revolution-with-brett-wilson-equestrian-author-spotlight-podcast Want a free guide to secrets of horse book authors? Gallop over to https://www.carlykadecreative.com/wisdom.html and join the Equestrian Author Spotlight email list to have the author advice resource delivered instantly to your inbox.

For the latest commentary on the social audio revolution, Voices' Founder and CEO David Ciccarelli's latest thought leadership piece for SPINSUCKS is required reading. Go to https://spinsucks.com/social-media/social-audio-revolution (https://spinsucks.com/social-media/social-audio-revolution) to find out more.

"Information is abundant... wisdom less so."It's no secret that access to knowledge and mentorship is fundamental to success in many aspects of life, not least business. But, on a Diverse Founders Programme, it became apparent to Dayo Akinrinade that these all-important connections were held within privileged circles - so she decided to set up Wisdom.Wisdom has harnessed the social audio phenomenon to connect knowledge seekers to mentors, for the benefit of people from all backgrounds. For this latest episode of Founded & Grounded, Dayo talks about tackling institutionalised prejudice, the challenge of ensuring trust and safety on a still-evolving social platform, and her vision of Wisdom one day rivalling Google as the go-to place for knowledge.Presented by Andrew Parsonage, with expert analysis from Ollie Collard and listener feedback from Samantha Miles. 

Graps and Claps Audio's Southern Branch brings you a review of Revolution Pro Wrestling's British J Cup from Stevenage.

BlaZae hangs out with Comedian Joe O'day, and introduced him to the Wisdom App for the very first time. He also speaks with a guest on the app Sylvia, who chimed in all the way from the Netherlands. "Now Is My Time" is available on major streaming platforms: https://distrokid.com/hyperfollow/bla...Learn more about the Wisdom app here : https://www.wisdom.audio/Text BlaZae at 314-470-6157 to keep up with updates!Support the Show on Cash App!  $lefthandperspective Follow BlaZae on Social Media!https://www.instagram.com/occultcomic33/https://www.facebook.com/blazeybeyhttps://www.facebook.com/thelefthandp...https://twitter.com/blazaebeySend us an email at lefthandperspective1@gmail.comSupport the show

In this episode, Stephen Rowan from The Stephen Rowan Podcast Show joins Joel. They discuss using podcasts to raise your profile and the kind of guests that get you listeners. Stephen has interviewed guests including Jeremy Corbyn and the Compton-based (former gang members) owners of Trap Kitchen.    KEY TAKEAWAYS   Just ask - you have nothing to lose by asking. Potential guests can only say yes or no. Be open-minded and ready to talk to people from all walks of life. Podcasting gives you the chance to talk to people you would not otherwise get to connect with. When you let your guests be themselves you get magical moments. Podcasting showcases others, but it is also a great way to boost your reputation. Sometimes guests are going to say yes, but let you down, you need to be ready for that. Set your big goals 5 years out, then set smaller realistic goals to get you there.   BEST MOMENTS ‘Podcasting enables you to have a conversation with somebody you possibly are never going to meet otherwise. ´ ‘Choose a niche.' ‘Have lots of goals, small goals that will get you there.'     VALUABLE RESOURCES Stay Hungry podcast series Stay Hungry Bestselling Book   If you're fed up with wasting your time and money on marketing that doesn't generate enquiries and sales - hop on a Codebreak discovery call.   After all, getting lots of 'likes' on your Facebook page ain't gonna make your boat go faster. But up-to-date marketing techniques that attract buyers and action takers instead of tyre kickers will. The Codebreak team are here to show you how or do it for you - https://www.codebreak.co.uk/discovery-call/   EPISODE RESOURCES Website: https://www.stephenrowanshow.com/ YouTube (all of Stephen´s podcasts): https://www.youtube.com/channel/UCAUpuuXmoUPmEiFWsazFN5g   ABOUT THE HOSTS   Joel Stone Joel started his working life as a graphics designer. Pretty quickly he got bitten by the social media bug which showed him the power of marketing and set him on a new career path. In 2015, Joel co-founded Codebreak. A full-service marketing agency that has bought together media experts that specialise in providing the hospitality industry with design and promotional solutions. Branding and targeted marketing combined under one roof.   Andy Rao Andy studied Psychology at university, which was his springboard into the world of marketing. He realised that to sell successfully you have to put yourself into the shoes of your customer and understand their why. Andy started his marketing career working closely with dozens of Shropshire businesses, all of whom had something different to sell. During that time, Andy picked up the skills he uses today to tailor each marketing solution to his client´s businesses, the industries they work in, and the different types of customers they need to reach.   CONTACT THE HOSTS Website - https://www.codebreak.co.uk/ LinkedIn - https://www.linkedin.com/company/codebreak   Podcast Description Breaking down all things marketing, design, and geek culture. Hear from Codebreak co-founders Andy and Joel as well as the experienced team. On this podcast expect to find marketing top tips, useful insights, and expert advice that you can apply to your business.   So, if you're fed up with wasting your time and money on marketing that doesn't generate enquiries and sales - hop on a Codebreak discovery call.   After all, getting lots of 'likes' on your Facebook page ain't gonna make your boat go faster. But up-to-date marketing techniques that attract buyers and action takers instead of tyre kickers will. The Codebreak team are here to show you how or do it for you - https://www.codebreak.co.uk/discovery-call/   See omnystudio.com/listener for privacy information.

Netflix just unveiled that along with Apple HomePod support is coming for spatial audio. The technology is revolutionary but will only be compatible on the iPhone and iPad devices running iOS 14 or 15 you will also need AirPods Pro or AirPods max to utilize the technology. --- Send in a voice message: https://anchor.fm/ava-live-radio/message

Coming to Jesus Moment.... What? Not your typical interview on Today's show.  In today's show, Carlos will be discussing and interviewing Phillip D. Edge who is another fellow Podcaster and Influencer on a topic that everyone is talking about: How To Make Money in this Audio Podcast Revolution?    Phillip D. Edge, an engaging speaker, diversity and inclusion practitioner, executive coach and leadership development facilitator.  He is a master communicator and 21st century thought leader. For almost two decades Phillip has worked in the area of personal and professional development. His masterful delivery shifts the mindsets of individuals and challenges the collective thought process of teams. A former 9th and 10th grade English teacher Phillip has the ability to flow seamlessly between age groups, generations, ethnic groups and socio-economic backgrounds. A graduate of Centre College in Danville Kentucky with a Bachelor of Arts in English, Phillip resides in Rome Georgia with his wife Carrie and their 5 children. For more info on our guest Phillip Edge, go to his Instagram at: https://www.instagram.com/1phillipedge/   ♠️ ♠️ ♠️ ♠️ ♠️ ♠️ ♠️ ♠️ ♠️♠️ ♠️ ♠️♠️ ♠️ ♠️ ♠️ ♠️ ♠️ ♠️  

The pandemic has brought about significant changes in the way people experience home entertainment. And the audio industry has seen some positive developments. But the important question is: once we get back to the old normal, will this change stay? In this episode, Gyanendra Singh- Head of Audio, Sony India, discusses India's the audio industry and how the pandemic is shaping it.

Audio Revolution! Da Greenroom di Spotify a Facebookhttps://www.youtube.com/watch?v=nCpp7GaMwqECon Rossella Pivanti, Alessio Pomaro e Mario Moroni! Un grande aggiornamento sul mondo audio!

[News - 1:30] Obi-Wan TV Show and Tenet gets it's Home Box Office Premiere   [Feature - 26:00] The Audio Revolution. Clubhouse, Facebook,  Spotify, and Apple are all gearing up to win your ears. Who will win? [Recap - 47:30] The finale of Invincible and we're giving out awards----------Show vs. Business is your weekly take on Pop Culture from two very different perspectives. Your hosts Theo and  Mr. Benja provide all the relevant info to get your week started right.----------Follow us on Instagram - https://instagram.com/show_vs_businessFollow us on Twitter - https://twitter.com/showvsbusinessLike us on Facebook - https://www.facebook.com/ShowVsBusinesshttps://www.youtube.com/channel/UCuwni8la5WRGj25uqjbRwdQ?sub_confirmation=1----------Subscribe on iTunes, Spotify, Stitcher, or wherever you listen to podcasts.

In this week's episode we are joined by Govind Balakrishnan CEO and co-founder of audio journalism platform Curio, which has been backed by investors to the tune of $11 million. Curio partners with the likes of The Wall Street Journal, the Financial Times, The Guardian and Wired to deliver their stories in audio form. Govind speaks to Manveen Rana senior investigative journalist at The Times and Sunday Times about his start-up journey and how audio is shaping the economy. To find out more about Curio click here: https://curio.io/  See acast.com/privacy for privacy and opt-out information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ola Sars: "What Spotify is now doing with podcasts is kind of going beyond music. There's an audio extension as well into the public domain that might go beyond music. For me that's very interesting, and it can be anything from informative messaging to soundscapes design".Listen to the entire podcast or vlog: The Power of Audio + Science + AI with Jasmine Moradi (www.jasminemoradi.com, Spotify, Apple Music & Google Play) Episode 4: B2B Music Licensing: - Stop giving away music forfree as it is hard work done by artists and composers.Soundbites#4.1 – Musictech: How and why Ola Sars ended up in the music industry. The success and failures behind Beats Music, Pacemaker and Soundtrack Your Brand. (09:03)#4.2 – The successful strategy behind sourcing Spotify's backend, structure and license. (25:27)#4.3 – The difference between B2C and B2B music streaming products explained: Using Spotify or Apple Music in your store is as illegal as opening a cinema with your Netflix account. (31:21)#4.4 – The music industry has to come together as artists and musicians are missing out on $2.7 billion per year as a result of 21 million small businesses using personal Spotify or Apple accounts rather than a proper B2B service. (39:28)#4.5 – Signing Universal Music Group was the last piece of the licensing puzzle to improve and to set the business model of the broken B2B music industry.​ (44:50)#4.6 – Soundtrack Your Brand job is not to drive compliance but to offer a valuable product solution for entrepreneurs to increase store sales and customer experience. (48:52)#4.7 – The music industry has to stop giving away music for free, and start realizing that in-store music costs as it is a hard work done by artists and composers. (52:00)#4.8 – How Soundtrack Your Brand's AI-powered analytics distributes the real-time streaming data back to the music industry so right holders can pay artists and composers ten times more. (56:28)#4.9 – How “Soundtrack Unlimited”, the world's first on-demand B2B music streaming product, helps entrepreneurs grow their business at the same time as artists get fairly paid. (1:03:07)#4.10 – The real pivotal moment for the music industry is the day we can prove in real-time that music increases sales. (1:07:15)#4.11 – How music can help your store under the pandemic. (1:09:18)#4.12 – Audio revolution in the public domain is the next hit – audio messaging and audio research. (1:12:34)Ola SarsCEO & Co-FounderSoundtrack Your Brandwww.soundtrackyourbrand.comHost:

From Voice Tweets To Smart Speakers, Entrepreneurs Can't Afford To Ignore The Impending Audio RevolutionBy Forbes Editors' Picks forbes.comThis audio is available in the UK, US, Canada, Australia and India as a Flash Briefing on @amazonecho devices and the #Alexa app (even without a device), as well as Spotify and Apple Podcasts and Google Podcasts.Search for “The Smart Speakers”. The links referred to are at: https://www.thesmartspeakers.com/links Also check out my 28 Day Flash Briefing Briefing - a step-by-step course in building a better briefing for your brand or business or self. It's available in the Alexa Skills store https://bit.ly/Peters28DayFBB Produced by Peter Stewart (@TweeterStewart) #voice #voicefirst #voiceAI #smartspeakers #Alexa #flashbriefing #WomenInVoice #AI #VUI #FlashBriefing #FlashBriefings #podcasts #technology #AlexaLive #Echo #smarthome

Laptop Radio chats with Ola Sars (Founder and CEO of Soundtrack Your Brand) on From Music Streaming Disruption to the Audio Revolution.

Marken haben die Audio-Revolution überhört. Wer die Chancen für die eigene Kommunikation nicht erkennt, wird zukünftig den Anschluss verlieren. Ein Debattenbeitrag über veraltete Ansichten und fehlende Experimente. Von Paul-Christian Brenndörfer und Julian Krohn.

The audio revolution is here (infographic)By Ron Jaworski trinityaudio.aiThis audio is available in the UK, US, Canada, Australia and India as a Flash Briefing on @amazonecho devices and the #Alexa app (even without a device), as well as Spotify and Apple Podcasts and Google Podcasts.Search for “The Smart Speakers”. The links referred to are at: https://www.thesmartspeakers.com/links Also check out my 28 Day Flash Briefing Briefing - a step-by-step course in building a better briefing for your brand or business or self. It's available in the Alexa Skills store https://skills-store.amazon.co.uk/deeplink/deviceType=app&shdp/B07N75H7HM?are&refSuffix=ss_copy PLUS The Friday Flash Briefing Briefing my weekly email newsletter on the skillset, the mindset and the marketing to building a better Briefing. Sign up at www.voiceworks.info Produced by Peter Stewart (@TweeterStewart) #voice #voicefirst #voiceAI #smartspeakers #Alexa #flashbriefing #WomenInVoice #AI #VUI #FlashBriefing #FlashBriefings #podcasts #technology #AlexaLive #Echo #smarthome

The audio revolution is here (infographic)By Ron Jaworski trinityaudio.aiThis audio is available in the UK, US, Canada, Australia and India as a Flash Briefing on @amazonecho devices and the #Alexa app (even without a device), as well as Spotify and Apple Podcasts and Google Podcasts.Search for “The Smart Speakers”. The links referred to are at: https://www.thesmartspeakers.com/links Also check out my 28 Day Flash Briefing Briefing - a step-by-step course in building a better briefing for your brand or business or self. It's available in the Alexa Skills store https://skills-store.amazon.co.uk/deeplink/deviceType=app&shdp/B07N75H7HM?are&refSuffix=ss_copy PLUS The Friday Flash Briefing Briefing my weekly email newsletter on the skillset, the mindset and the marketing to building a better Briefing. Sign up at www.voiceworks.info Produced by Peter Stewart (@TweeterStewart) #voice #voicefirst #voiceAI #smartspeakers #Alexa #flashbriefing #WomenInVoice #AI #VUI #FlashBriefing #FlashBriefings #podcasts #technology #AlexaLive #Echo #smarthome

The audio revolution is here By Ron Jaworski trinityaudio.aiThis audio is available in the UK, US, Canada, Australia and India as a Flash Briefing on @amazonecho devices and the #Alexa app (even without a device), as well as Spotify and Apple Podcasts and Google Podcasts.Search for “The Smart Speakers”. The links referred to are at: https://www.thesmartspeakers.com/links Also check out my 28 Day Flash Briefing Briefing - a step-by-step course in building a better briefing for your brand or business or self. It's available in the Alexa Skills store https://skills-store.amazon.co.uk/deeplink/deviceType=app&shdp/B07N75H7HM?are&refSuffix=ss_copy PLUS The Friday Flash Briefing Briefing my weekly email newsletter on the skillset, the mindset and the marketing to building a better Briefing. Sign up at www.voiceworks.info Produced by Peter Stewart (@TweeterStewart) #voice #voicefirst #voiceAI #smartspeakers #Alexa #flashbriefing #WomenInVoice #AI #VUI #FlashBriefing #FlashBriefings #podcasts #technology #AlexaLive #Echo #smarthome

Julian Treasure is sound and communication expert, acclaimed TED Speaker and the founder of The Sound Agency. In this episode we discuss: - How a recent health scare altered Julian’s perspective on life and work - Julian’s tips for effective public speaking, based on his five TED talks- The future of audio and what the current revolution means for you Julian is a true master of his craft so if you’re looking to improve as a communicator and speak so people want to listen you’ll get a lot out of this episode.

From CES 2019, Brian Kaminsky, President Product Revenue at iHeartMedia, joins us for a conversation about the data revolution in broadcast radio, the current state of privacy, and the first incident in the coming war between robots.

Podcasts and audibooks have caught fire in recent years, offering publishers a brand new way to access their audiences. Despite scepticism from some that a return to what is essentially radio would ever be possible following the arrival of the television, and later the internet, the smartphone has enabled people to access audio content from anywhere. Its appeal has been huge: People enjoy listening to documentaries, discussions, comedies, serialised dramas, and all kinds of other genres, all without any visual accompaniment. This trend has yet to hit the Middle East, however, and on today's podcast we talk to the country manager for Storytel, one of the world's fastest growing audiobook platforms, about what it will take to make audio a success in the region, and how long before it truly catches on.

Smart speaker sales from Amazon Alexa and Google home is projected to grow from $2 billion in $2018 to $40 billion in 2022. Get ready for the next audio revolution as Anchor podcasters! --- Send in a voice message: https://anchor.fm/anchortalk/message Support this podcast: https://anchor.fm/anchortalk/support

Is social media turning into a three-horse race? New research by Edison indicates that Americans are starting to migrate to three big social media platforms, while usage and preference is flattening out on secondary platforms. In this scintillating, 99th episode of The Marketing Companion, Tom Webster reveals a study 2o years in the making: The Infinite Dial. Some of the highlights of this show: The social media shake-out: Why Snapchat will last and Twitter is in trouble Emergence of smart speakers (like Google Home and Alexa) ... and why Apple is falling behind. The profound implications of the extraordinary growth in video subscriptions The decline of advertising opportunities and the impact on marketing Surprising listener trends in podcasts (and why young people aren't going there) The rise of YouTube as a music channel In this episode, Tom and I also read our spam, because we can. Who's ready to rumble? Resources mentioned in this podcast: Edison's Infinite Dial Report Norm McDonald's Moth Joke. Please support our extraordinary sponsors. Our content is free because of their generosity. Many thanks to our friend Scott Monty for the awesome show intro. Be sure to check out his amazing newsletter The Full Monty and his new podcast available here: fullmontyshow.com. BuzzSumo is the world’s best way to discover, analyze and amplify your content. Run over to BuzzSumo today for a 14 day free trial. Beyond data, BuzzSumo offers priceless insights into content discovery, monitoring, influencers and outreach, content research and planning, and competitor research. Find out why so many Marketing Companion fans are now hooked on Buzzsumo. Check out BuzzSumo’s powerful technology to look at the hottest content trends down to the hour!

Denise Griffitts interviews Tina Dietz about publishing your audio book quickly and easily. When she was 2 years old, someone handed Tina Dietz a tape recorder - and that was that!  A lifelong love affair was born. Today, she is an internationally acclaimed business coach, audiobook publisher and launch specialist, podcast producer, and a bestselling author who has been featured on ABC, Inc.com, Huffington Post and Forbes. Her podcast, The Start Something Show, was named one of the top podcasts for entrepreneurs on Inc.com and her company, StartSomething Business Solutions, helps clients who want more than just a business and more than a routine life - they want a "Business Oasis.” Did you know that 1.5 million MORE audiobooks were downloaded than ebooks in 2015, and in 2016 sales are up 34% over 2015 numbers? Tina is going to share these nuggets: Why you don't have to narrate your own book to get the best results.How authors can protect themselves from royalty scammers and the hidden pitfalls that scare away readers.How you can get your audiobooks produced for 50% less than what it costs the big publishers.Audiobooks can make you money even when your book is free! As part of her own business oasis, she herself splits her time between the US, Canada and Costa Rica. You can find her online here: Facebook: http://www.facebook.com/thestartsomethingmovement Twitter: @TheSuperStarter LinkedIn: http://www.linkedin.com/in/tinadietz

HOTSEAThaas and Mdobbs @justmikeatl chop it up briefly about their Thanksgiving Holiday, Mdobbs shares his dilemma with his Pops, we also discuss college memories while both attending Clark Atlanta University. We discuss a few of our themed questions with Whats Good In Atlanta? Classical Hip Hop Moments... we also share favorite strip club moments, favorite strip clubs and Mdobbs shares his strip club etiquette. Tune into this mature conversation!!! We feature a new music snippet from Haas with Ball Shorts To Coogis We also feature a new music snippet from EBT Brand with Iron Mic and Apocalipps They recently dropped their new project called Audio Revolution on Spinrilla. We feature Poverty Paradise. One of my favorite songs off the project. Stay tuned for my EDITORIAL WRITE UP ALSO! AudIo Revolution - heres the link https://spinrilla.com/mixtapes/iron-mic-apocalipps-audio-revolution Views expressed here are my own & do not reflect those of any employer or its clients. Creative ideas expressed by all contributors belong to them and not the Blog owner. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/hotseat-haas/support

If you enjoy this podcast, consider buying me a coffee: https://adamstoner.com/support ‘Defying Conventions: Is Beats 1 Redefining Radio?' was originally submitted as part of a University of Gloucestershire Radio Production module. With the exception of two small typographical changes, this essay is posted exactly as it was submitted. Appendices have been redacted but bibliography and in-line references remain – get in touch if you need to chase anything. Apple's annual World Wide Developer Conference is a showcase of the company's latest software and technology. Described by CEO Tim Cook as the ‘epicentre of change', 2015 marked their ‘most global conference ever' (Apple, 2015), a fitting stage to announce their new ‘worldwide' and ‘always on' internet radio station, Beats 1. The announcement of Beats 1 came as a footnote to an addendum. The presentation mainly dealt with Apple's latest technological offering, ‘Apple Music' – a streaming service and social network combined, of which the radio station is merely a subsidiary – rather than with Beats 1 Radio directly. Nevertheless, speaker, record producer, and entrepreneur Jimmy Iovine painted it as a nod to the company's history; the minds behind the iPod and media software iTunes were returning to the grassroots of music sharing: radio. This essay will look at the early success and criticisms of Beats 1. It will do this by examining how the station defies established radio theory and is helping to evolve the medium both technologically and stylistically. It will contextualise these findings in the form of current industry practice, as well as what pressures the station may put on commercial and public service radio broadcasting in the United Kingdom. The essay aims to explore the timing and reasons behind the inception of the station and will raise questions behind its ideology. It will draw on a range of practitioner, academic and secondary sources as well as personal listening and theorisation in order to explore whether Apple's Beats 1 is ‘redefining radio'. Defining Radio From the offset, a couple of basic but important distinctions need to be made. As the Radio Advertising Bureau reflect in their 2014 report Audio Now (p.10), new forms of audio are continually emerging. The report highlights three main forms of consumer-level audio, with the latest — ‘on-demand' — being less than ten years old: ‘Owned audio': Here, the consumer owns the physical or digital audio format. This may include digital downloads, gathered legally or otherwise, or physical copies of the sound, such as CD, cassette or vinyl. ‘Live audio': This is the oldest of the three forms. The report refers to it as ‘live radio' but for the purposes of this essay we shall expand its definition to all audio consumed in real-time, as it is performed or transmitted. ‘On-demand': The newest of the three and the most complex to define due to its multifaceted nature. This encapsulates audio where the consumer does not have the original file and listens in isolation. Examples cited in Audio Now include streaming services, podcasts and YouTube videos. This notion of ‘owned audio' can be entirely discounted when discussing Apple Music as a standalone product; the user never gets physical access to the music files, just the right to stream them in exchange for a monthly membership fee of £9.99. The second and third definitions – ‘live audio' and ‘on-demand' respectively – are vital when addressing Beats 1 and Apple Music's other ‘radio'-esqué offerings, the definition of which has been somewhat corrupted by modern-day ‘on-demand' music streaming services. ‘Radio', as understood by the likes of Spotify, Deezer, Pandora, or similar, is intrinsically different from the traditional and well-established institution of radio broadcasting. This is not to say traditional radio is out-dated – far from it – but that ‘on-demand' services have appropriated the name of the medium and have used it incorrectly. There are multiple differences between the two, with the most notable being that the more traditional notion of radio broadcasting features human presence. Chignell (2009, p.33) explains people ‘add meaning' and context, and also provide a sense of co-presence. This is the complete antithesis of so-called ‘radio stations' on streaming services which strip broadcasting of its ‘essential element' (Priestman, 2006, p.36): human-to-human contact. As Corderio (2011, p.499) highlights, there is a long line of radio theorists who contend ‘music playlists, without human interaction, should not be confused with radio', and that radio can be easily defined as public, point-to-point_s_ broadcasting. Priestman describes the aforementioned, human-bare stations as ‘automated web “jukebox[es]”' and for the purposes of this essay, these on-demand web-jukeboxes will be called exactly that. iTunes Radio – the 2013 predecessor of Apple Music – was one such service. Allowing users to create ‘stations' around a single artist or band, algorithms mixed content from one band with similar material by similar artists. As Baldwin (2013) reports, iTunes Radio let users ‘rate the songs (…) as they stream[ed]', thereby learning individual preference in order to modify the output to better suit taste. While iTunes Radio was by no means a failure, algorithms, as Iovine himself admits, ‘can't do it alone' (Dredge, 2015). While movements in the realm of acoustic and computer science are moving in the right direction, machines currently fail to recognise mood, thus playing inappropriate or mismatched tracks sequentially, and cannot provide all important context. Enter Apple Music. While the newer service still contains web-jukeboxes, Apple makes a clear point of distinguishing Beats 1 Radio from them. In the native Music application on iOS, a graphic inviting people to ‘Listen Now' takes centre stage (appendix; a), occupying well over 50% of the screen space. Not only does this force automated-jukebox stations to exist several swipes away but it also separates Beats 1 from these lesser-refined services. The Beats 1 landing page on the Apple website makes a further point of highlighting this distinction by defining the true meaning of radio itself: ‘No matter where you are or when you tune in, you'll hear the same great programming as every other listener' (2015b). This reinforces a concept Chignell (2009, p.74) writes about, co-presence, a theory Scannell and Cardiff (1991) highlight, imagined community, and Marshal McLuhan's Global Village, ‘one world connected by an electronic nervous system' (Stewart, n.d.). Irrespective of scale, collective listening is precisely what radio is all about. As a technology company, there are technological considerations to take in to account when defining what ‘radio' means to Apple. As the smartphone market leader (Forbes, 2015), it is fitting of Apple to create a station that is marketed at, and primarily received on, mobile devices. According to a 2015 report from the International Federation of the Phonographic Industry, the digital music industry is worth $6.85 billion worldwide per annum (IFPI, p.6), with ‘music subscription services' accounting for 22.75% of revenue. On the other hand, ‘radio is a massive $20 billion industry' (Truong, 2015). At a time where physical format sales are declining (IFPI, 2015b), where the revenue share of music streaming is growing exponentially, and where radio is still ‘able to command the largest share of the listening ear' (Lloyd, 2015, p.293), Apple wants in. Moreover, there are some strong statistics to suggest mobile listening is quick becoming a force to be reckoned with. ‘31 minutes a day is the average amount of time spent listening to music on a phone', Global (2015) claims, and ‘65% of “digital audio” streamers' – both live audio and on-demand consumers – ‘listen with head[/ear]phones'. Undoubtedly, radio is an intimate and personal medium, esteemed by consumers (McLeish, 2016, pp.3 to 6). To further emphasise this, by interacting through earphones, listeners are choosing to place broadcasters in their ears, to make the broadcast a part of their body, a sacred trust and one only radio could garner. Global also claim ‘44% of 35-44 year-olds' stream music over tablet devices. Logically, what with early adoption rates and increased technological competence in younger generations who have grown up with this hardware from an early age, this number will only be higher in the 15 to 24 and 25 to 34 demographics, precisely the age of consumer Apple is attempting to capture with Beats 1 Radio. Defying Radio In the words of both Finer (2003, p.32) and Castelles (2003, p.17), the internet is the world's first international radio frequency. Apple not only advertise Beats 1 as being ‘worldwide', but as ‘a truly global listening experience', letting audience members discover ‘what's going on in the world of music'. While parts of this statement are correct – the station can be received in 100 countries around the world (Apple, 2015c), although that is only 51% of the planet – the overall sentiment could not be further from the truth. At present, the BBC World Service is the world's largest international broadcaster (House of Commons, 2010, ev.11) serving over 188 million people per week (BBC, 2009). Whilst the on-air content of each station cannot be compared – the BBC World Service is primarily a news and informational platform, while Beats 1 is purely a music station – there are, in terms of scale, many similarities. Evident from its marketing decisions and branding, Apple's goal is for Beats 1 to adopt an audience of ‘World Service' magnitude – ‘truly global', ‘worldwide'. However, in the same way Beats 1 broadcasts from exclusively Western locations – New York City, London, and Los Angeles – yet claims it is a ‘global' voice, the BBC World Service soldiers in a similar vein. The Operating Agreement of the World Service (BBC Trust, 2012, p.6) sets out English language services as their ‘core offer' and designates 75% of overall output worldwide to English language programming each week. Even the name of the BBC World Service contains a jarring juxtaposition, seating ‘British' and ‘World' two words apart. On the other hand, ‘beats' – acoustically speaking – know no borders and are not unique to any specific genre of music. Here, Beats 1's lack of cultural identity, as far as the name of the station and the simplistic graphical signifiers and branding it uses, allows the station to be transient in nature. However, as O'Malley (2015) reflects, this ‘ill-defined genre remit' hasn't come without criticism – He goes on to state ‘if you make content so broad, it becomes meaningless'. Beats 1 contradicts Priestman's (2006, p.233) argument that ‘web radio works best as a narrow-cast or niche medium' and Nyre's argument (2008, p.192) that music radio stations attempt ‘to attract niche audiences'. Roy Martin, managing editor of Radio Today, claims Beats 1 threatens ‘specialist music stations such as 1Xtra, Kiss [and BBC Radio] 6 Music' (2015). The breadth of music these stations play is replicated on Beats 1 without advertisements or pressures to fill remit goals. Contrasting Martin's sentiment, BBC Radio 1's controller Ben Cooper – who has lost two talents: Head of Music George Ergatoudis to Spotify (Lunden, 2015) and Lowe to Apple – claims ‘a rising tide lifts all boats' (Griffiths, 2015). Martin continues, ‘the likes of Radio Plymouth, The Bee [Lancashire] and Clyde 1 [Glasgow]' need not feel at risk, despite Beats 1 being billed as ‘the world's local station' (Quartz, 2015). Although Beats 1 can attempt to masquerade as local radio, when it comes to discussing truly local news and events, even at its closest level of inspection Beats 1 has to take a national view for fear of alienating other listeners. Locality is what makes radio work and Beats 1, with its syndicated, single, linear programming which never once breaks out in to local titbits, cannot possibly achieve the same effect on its desired scale. The on-air content of Apple's Beats 1 behaves as a BBC Radio 1Xtra and Radio 6 Music hybrid. The station is clearly attempting to promote ‘challenging, innovative' (BBC Trust, 2012b, p.2) music, with a distinctive focus on ‘contemporary black music (…) rarely heard elsewhere' (BBC Trust, 2015, pp.2 to 4), as the aforementioned BBC stations also reflect in their respective remits. Introducing challenging music comes with the need to reason track selection and explain why the creation deserves respect. BBC Radio 6 Music achieves this through interviews and technical discussions, many of which deconstruct musical theory, and through detailed back-announcements that may include the name of record labels, similar musicians, and artist influences. BBC Radio 1 Xtra achieves the same effect by discussing the artists' potential influence in relation to black British culture. This form of education, required by remit, is evident in the plays-per-day of each station, with BBC Radio 6 Music totaling an average of 172 plays per day and 1Xtra averaging 159 (Last FM, 2016, 2016b). The breaks are filled with news, documentaries and interviews. This is a stark contrast to Beats 1, a station that plays an average of 300 songs per weekday, peaking to 600 on weekends due in part to ‘high-track-turnover DJ mix shows that play during prime party hours' (Quartz, 2015). The on-air schedule of Apple's Beats 1 Radio is unlike any other station. Those familiar with radio will be aware of dayparting, ‘the practice of segmenting the broadcast schedule in to blocks (…) programmed for unique audience demographics and listeners' daily habits' (Piasek, 1998). Dayparting helps broadcasters provide more of that all-important context Chignell (2009, p.33) discusses. Nielsen Audio (2015, p.23), one of several U.S. audience rating services, divides a weekday into five such parts. Having slightly adjusted the times for an audience based in the United Kingdom, those dayparts are as follows: 0600 to 9000: Breakfast 0900 to 1600: Daytime 1600 to 1900: Evening Drive Time 1900 to 2300: Late Night 2300 to 0600: Overnight (colloquially known as the ‘graveyard slot') James Cridland believes (2015) ‘it makes no sense putting the money into a great breakfast show (…) because the timezones mean it's always breakfast somewhere'. Beats 1 replays its three flagship programmes – Zane Lowe, Ebro Darden, and Julie Adenuga – on a twelve-hour loop, thus hitting both eastern and western-based audiences with all three shows in any given 24-hour period. The rest of the schedule is comprised of irregular and one-off programmes fronted by musicians from Elton John to HAIM, and organisations like Noisey and Pitchfork. This pre-recorded content, masquerading ‘as live', is broadcast at times relevant to the market Apple is attempting to target. For example, St. Vincent's programme is played at 3 a.m. GMT, 7 p.m. PST (American East-Coast) and 11 a.m. CST (Mainland China), evidently targeting listeners in the Americas and Asia rather than the United Kingdom. Whilst this may seem a strange idea, it works. One of radio's early strengths, the art of ephemeral broadcasting, is being eroded in the age of podcasting, ‘owned audio' and ‘on-demand'. With this comes a pressure for more refined content – producers now must craft sound not only for initial impact, but also for replay value. Transmitting great content once then losing it to the ether is neither cost effective nor clever. LBC – a commercial, London-based news and talk station – is one of the first in the United Kingdom to implement pay-for catch-up services. Subscription services on a rolling monthly basis cost £3.99 (AudioAgain, 2014). In comparison, Beats 1 offers the same catch-up method: pay to become an Apple Music member. ‘While it doesn't quite provide the experience of listening to the show live, (…) every DJ will post a set playlist for their show a few hours after it ends' (iMore, 2015). Most commercial radio stations are yet to offer on-demand catch-up services at all, but some, like Fun Kids – the UK's only radio station aimed at under-12s – have in excess of 80 podcast channels (Think Fun Kids, n.d.). It is as-of-yet unclear whether the pay-for catch-up model works well enough to warrant the long-term investment required by commercial radio stations in order to develop distribution platforms. However, empowering the consumer through this medium provides another point-of-entry to the station and rewards active consumers with the opportunity to replay their favourite moments from past programmes, or to store the show for posterity. Given the high profile musicians Beats 1 has access to and the respective fan-bases of those musicians, Apple's move is clearly another call to subscribe. Once an interview or programme has been broadcast, the only way for dedicated fans to hear that content again – or catch-up, if they missed it first time around – is to pay. Apple know many fans have a fear of missing out, desperate to hear content from their favourite creators, therefore can reasonably assure themselves a select number of subscribers by providing exclusive content hidden behind paywalls. Redefining Radio Being owned by a multinational, technological giant has its advantages. While the equipment Beats 1 uses to broadcast is the same as any other digital radio station, the techniques are certainly groundbreaking. Beats 1 is available in two stream formats, 64 kbps and 256 kbps (Painter, 2015) AAC, superior to DAB's MP2 streams which vary from 64 kbps – for stations including Absolute Radio, Amazing Radio and BBC Radio 5 Live – to 192 kbps – used exclusively by BBC Radio 3 (Laird, 2015). With concern to mobile devices, where the vast majority of stations stream second-by-second, Beats 1 utilises the new HLS streaming format. HLS is HTTP Live Streaming, a new communications protocol developed and implemented by Apple (2014). Designed to be adaptive, devices request stream information in packets of varying quality, and, if at any point diminished bandwidth or download speed causes stress to the stream, devices will request the next packet in a lower quality. This creates the effect of zero buffering, allowing for a smooth and more dynamic listening experience. The highly customisable nature of mobile phones makes this next statistic hard to measure but assuming a couple of reasonable conditions – that a user has biometric Touch ID enabled and has not moved the Music application from the factory default setting in their iPhone's docking bar – an ordinary mobile user can become a Beats 1 listener in only four taps. If Siri's newer hands-free function – ‘Hey Siri' – is enabled, a user can become a listener without even having to touch their device (appendix; b). In stark contrast to popular radio streaming applications such as TuneIn or RadioPlayer – two of numerous for desktop and smartphone – Apple forces consumers to use their dedicated Music application in order to hear Beats 1. The reason behind this decision is simple: Apple is a lover of control; proven by the fact Beats 1 audio steams are encrypted. The keys to decrypt the audio streams lay within the Music application itself. When addressing Apple's design decisions, the company has previously been accused of attempting to create a ‘totalitarian monoculture' (Bissell, 2008), a statement that is hard to defend Apple against. Indeed, in order for a listener to switch from Apple's Beats 1 to a potential rival – say, BBC Radio 1 or Capital FM – they would have to conduct at least eighteen further interactions with their device, first by launching a non-native iPhone application, then by having to search for the station before launching it, an overwhelming contrast in user-friendliness from the potential hands-free starting of Beats 1. Matt Deegan – radio practitioner and Creative Director of Folder Media – emphasised this, explaining the inception of Beats 1 is a move to ‘keep people in the Apple Music ecosystem' (University of Gloucestershire, 2015). On December 29th 2015 it was reported (RadioToday) Beats Electronics LLC., a division of Apple and the owners of the Beats brand, had put in a bid to internationally trademark the names of four potential new stations, Beats 2 through 5 and respective station logos ‘B2' through ‘B5'. Whilst Apple has made their intention to expand its radio arm clear (Billboard, 2015), it is unknown whether the filings are just a protective measure to prevent others piggybacking the Beats Radio brand. In the United Kingdom, the government-approved communications and competition regulator Ofcom, can step-in to ensure monopolies of broadcasting remain fair. If a station like Beats 1 wanted to broadcast on FM, AM, or even DAB, there's a high likelihood that Apple – with their marketing budget in excess of $1 billion USD (United States Securities and Exchange Commission, 2012) and end-goal of creating several ‘Beats'-branded stations – would not be in receipt of an license. This is where broadcasting solely online has measureable advantages, namely in the lack of regulation. Under the sole condition Apple pays for the rights to stream music in the 100 countries Beats 1 is playable from, there are no further restrictions. Although indecency regulations do not apply to its online streams, Apple still chooses to play non-explicit, clean, radio-edited versions of tracks 24/7. ‘[C]ensoring explicit language could be a matter of playing it safe rather than hoping the content flies everywhere it's played,' Kastrenakes (2015) believes, ‘it's likely a way to stay in advertisers' good graces — and it's certainly possible that ads will show up on Beats 1 eventually, especially since it's available for free', he adds. Where a track has a particularly high number of expletives, presenters signpost the non-censored version as ‘now streaming on Apple Music', a call to subscribe to the service for uncensored content ‘as the artist intended'. As Priestman (2006, p.3) reminds us, ‘[r]adio was supposed to mean the end of newspapers [and] television was supposed to mean the end of radio', but as is now evident, newer mediums change their predecessors but do not replace them. Criticism aside, Apple has made some logical additions to the visual and multimedia assets accompanying radio. Beats 1's metadata – ‘data that provides information about other data' (Merriam Webster, n.d.) such as what is playing on the station – is visualised on the iPhone lock-screen (appendix; c, d). If users are Apple Music subscribers they can ‘favourite' tracks, add them to personal playlists for offline ‘on-demand' streaming, and share the station via social media channels. Moreover, the synergy Apple's Beats 1 manages to achieve by embedding its content within the native Music application is unrivalled. Presenters regularly direct listeners to their ‘Connect' pages – the social networking arm of Apple Music – to see content complimentary to on-air discussions. Apple's monopolistic attitude over its content pays-off here, where the dynamo and fluidity of content publishing aids the sense of liveness. While it is clear to see Apple have brought many innovations to the worlds of technology and of music – and is continuing to experiment, along with on-demand streaming services, with the power of radio – I am unconvinced Beats 1 poses a threat to traditional notions of radio broadcasting. I believe Apple has missed a trick by failing to make the station more revolutionary. The stream is ‘live' but its DJs are not, the station is ‘global' but radio works best locally. It is entirely within Apple's capabilities to syndicate international programming with local break-offs, in the same way Heart FM syndicates a national breakfast show with regional news and travel. Similarly, Apple could easily syndicate its presenters across several genres of station, unifying links but playing different tracks, thus narrowcasting to niche audiences while still maintaining an overall brand identity. Absolute Radio's ‘Project Banana', piloted during Christian O'Connell's breakfast show, adopts this method, handing consumers the power to ‘choose the music to suit their tastes, while enjoying and interacting with the show's hosts' live (MediaWeek, 2014). While the station certainly has had success in marketing itself as a ‘breakthrough', in the words of James Cridland (2015) ‘I'm not sure it'll set the world on fire'. Moreover, the move to launch a radio station has attracted many critics, one of which stated it was ‘a terribly exclusive vanity project' (O'Malley, 2015), a statement I'm inclined to agree with. Matt Deegan is correct; Beats 1 is an advertising space for Apple Music, and contains measureable disadvantages for non-subscribers. Nevertheless, Beats 1 does pose serious questions for Station Managers and Radio Futurologists alike, namely around sharing multimedia content, ideas of exclusivity and privilege, and scheduling for maximum impact. Where Beats 1 excels, such as in technological competence and innovation, it is my opinion more traditional stations fall far behind. Here, they really are ‘redefining radio'. In this digital age, stations need to strive for technological excellence and Beats 1 is a prime example. This is not shocking, as the biggest and most valuable technology company in the world owns Beats 1. It is just a shame that, as far as content is concerned, where other stations excel, Beats 1 misses the boat. 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The Audio Revolution! production team and students at the United World College in Las Vegas, NM teamed up to create this comprehensive show about the conflict occurring right now in the Gaza strip. Hosts Gabriel Rima of Monte Del Sol Charter School and Savannah Chapman, a sophomore at Capital High School, guide listeners through personal narratives of Israelis and Palestinians, interviews and the main focus of the show; an in-depth look at a performance done by United World College and Highland University students called The Gaza Monologues. The Monologues were written by 13-16 year old Gazans whose daily lives are intertwined war and conflict. We hope this show will give you insight into the conflict in the Gaza strip and the power of performance and narrative to help us understand each other.

What better way to start off a new season of Audio Revolution! with a light-hearted show about humor! Hosts Adriana Torres of Monte Del Sol Charter School and Conor Cole of the Master's Program will make sure to guide you through a very fun and funny show. Comprised mostly of Radio Dramas created by Joey Chavez's Theater Class at New Mexico School For the Arts, this Audio Revolution! will present you with a diverse range of all-things-silly! From Spoofs to Slapstick humor to jokes about EXISTENTIALISM, the Humor show will leave you laughing and hopefully seeing the importance of humor in our everyday lives! Enjoy!

In this edition of Audio Revolution! hosts Gabriel Rima and Savannah Chapman-Martinez take you into the depths of identity: What does it mean to be American? Who gets to be American and who doesn't? What are the freedoms and privileges American's have? And, do all American's have those freedoms? And what does it mean to be both American and another ethnicity and/or culture? These are some of the questions that get explored in this intense and immense Audio Revolution! This show features Carmen Gallegos' "Quien Soy," and Audio Cascades answering the questions: what it means to be American and what does American sound like? from students at Monte Del Sol Charter School. As well, the show showcases two panel discussions, one with the Santa Fe Indian School Spoken Word Team and another with members of our Production Team about White privilege, Hip Hop and Music. Lastly, the three regular segments will make sure to get you thinking about American Politics and inspire you to use the our relative freedoms to make a difference in all of your communities!

Join us while Audio Revolution! takes on this increasingly important issue. We’ll investigate the busy lives of teens and what they do to cope with the stress, anxiety and depression that is ever-present in high schools and colleges today. Featured in this intense show are pieces from Zoe Ballargin and Ethan Parrot of Monte Del Sol High School, Capital High School sophomore Savannah Chapman-Martinez, a panel discussion with student writers at GeNext (The New Mexican’s youth section), an interview with Karen Rencountre, New Mexico’s Gay Straight Alliance coordinator, as well as regular pieces by Gabriel Rima and Conor Cole of the Audio Revolution! Production Team. Hosts Carmen Gallegos and Adriana Torres facilitate this exploration of pressing issue of stress within youth communities. Listen to what’s too much youth today and find out how they are combating their stresses!

Explore the underground with Audio Revolution!. This show investigates the world of unconventional, underrepresented, and underground arts. From Hip Hop to art happenings and video games to spoken word poetry, this Audio Revolution! will get you reconsidering what is art and why it might or might not be important. Let hosts Adrian Andre of Santa Fe Community College and Conor Cole in the Master’s program guide you through the unseen and unappreciated. With interviews of Lisa Donahue of SFAI about Flash Flood and Vince Kadlubek, a founder of Meow Wolf, a spoken word Blessing poem by the Santa Fe Indian School spoken word team as well as pieces about the commericalization of Hip Hop, Video Games as an art form and a special Seeds of Sound rap by Audio Revolution! production team members, there’s no way you won’t be inspired to learn more about what’s just outside of the box… Enjoy!

Halloween Hosts Arlyn Torres and Savannah Chapman-Martinez of Capital High School guide you through a scary, spooky and informative edition of Audio Revolution! This show features a history of Halloween, a special telling of the local legend, La Llorona by Savannah Chapman-Martinez, a Conortary by Conor Cole about the absolute best methods to trick or treat. As well, there are pieces on popular halloween costumes for this year, a panel discussion with students at Monte Del Sol on racism and sexism in contemporary Halloween, a personal ghost story by Brittania Rael of Capital High School and a Halloween special Seeds of Sound by Gabe Rima about celebrating holidays meaningfully and with intent. Enjoy and make sure your windows are closed because this show will keep you on your toes…

Listen to the first show of Audio Revolution!’s fall 2010 season! This show highlights the work done by students during Youth Media Project’s Summer Intensive 2010. With the help of Carmen Gallegos and Eliot Fisher of Youth Media Project and Lisa Donahue and Perish of the Santa Fe Art Institute, the students created pieces that range from songs to fictional poems to family narratives to personal manifestos! This show includes all of their pieces as well as show regulars such as Conor Cole’s Conortary about Audio Revolution! and Gabriel Rima’s Seeds of Sound. Let your hosts Conor Cole and Adriana Torres guide you through these incredible and moving pieces.

Audio Revolution! tackles the touchy topic of Christmas and Consumerism with hosts Sienna Sanchez and Conor Cole. This segment include Earthcare International/Youth Allies participants' audio cascade about waste and recycling, a piece on Walmart's use of sweatshops and additional unsavory labor practices, and finally, YMP's Taylor Ramzel's Taoist approach to dealing with holiday stress.