Podcast appearances and mentions of Julie Adenuga

Welcome to another episode of Faking Adulthood! I'm your host, Rita Balogun, and today my co-host is the amazing Julie Adenuga. We talk about our budding friendship, music (she thinks her taste is better — it's not), and whether we'd want to be vampires (yes, I've watched Sinners). It's a great episode where you'll hear Julie having the bestest time! Hope you enjoyyy! Please don't forget to share, like, and subscribe. Appreciate you so much!Follow us IG: www.instagram.com/msritab Julie- www.instagram.com/julieadenuga Tote Bags - https://mailchi.mp/a1198e18b948/coming-soonPlaylist - https://open.spotify.com/playlist/3LzDwNx1PB188WSgb7MkPl?si=fVeBRE0aRf2EYc1D4mg1cg&pi=oOt0 Hosted on Acast. See acast.com/privacy for more information.

Link: https://my.huel.com/90sBabyShow25Code: 90SBABYHuel T&CsDiscount code offers £10 off your order in the UK with a £60 minimum order spend and 15% off in the US with a $75 minimum order spend. New customers only. Live for 30 days.WIN A TRIP TO TOKYO - https://raffall.com/375146/enter-raffle-to-win-a-trip-to-tokyo-hosted-by-90s-baby-showWater2 - https://water2.com/90SBABY15 use code 90SBABY15 at checkoutJoin this channel to get access to perks:https://www.youtube.com/channel/UCOIOo7ybnNFNdwjSCgYDtOw/joinCheck out our Amazon Storefront - https://www.amazon.co.uk/shop/90sbabyshow/list/CA7MV366T30L?ref_=cm_sw_r_cp_ud_aipsflist_CJP85NJ95R280Z6C6NMZPO Box 5038 HORNCHURCH RM12 9JX Hosted on Acast. See acast.com/privacy for more information.

Link: https://my.huel.com/90sBabyShow25Code: 90SBABYHuel T&CsDiscount code offers £10 off your order in the UK with a £60 minimum order spend and 15% off in the US with a $75 minimum order spend. New customers only. Live for 30 days.WIN A TRIP TO TOKYO - https://raffall.com/375146/enter-raffle-to-win-a-trip-to-tokyo-hosted-by-90s-baby-showWater2 - https://water2.com/90SBABY15 use code 90SBABY15 at checkoutJoin this channel to get access to perks:https://www.youtube.com/channel/UCOIOo7ybnNFNdwjSCgYDtOw/joinCheck out our Amazon Storefront - https://www.amazon.co.uk/shop/90sbabyshow/list/CA7MV366T30L?ref_=cm_sw_r_cp_ud_aipsflist_CJP85NJ95R280Z6C6NMZPO Box 5038 HORNCHURCH RM12 9JX Hosted on Acast. See acast.com/privacy for more information.

This week, broadcaster Julie Adenuga shares an epic crime story which spans the frat houses of America to Parisian marriage proposals, before helping Hannah and Taylor find out what went down in Circleville - which is DEFINITELY a real town.We then hear from a listener whose meaty crime tale will have you firing up the BBQ before the episode is over. For shout outs, invites to watch live zoom records, early access and ad free eps AND MORE, support us on Patreon HERE!Come and see Taylor and Hannah LIVE! -They will be at Ventnor Fringe on 26th and 27th July 2024-At this year's London Podcast Festival, mashing with The Ghost Huns Podcast to bring you Drunk Huns Solving Ghosts-AND tickets are now on sale for their double header Christmas Show at The Brighton Komedia on 16th December 2024All details and ticket links can be found here - Drunk Women Solving Crime - The UK's hit true crime comedy podcast Hosted on Acast. See acast.com/privacy for more information.

Coming up this week, Hannah and Taylor are joined by broadcaster and supersleuth, Julie Adenuga!Full episode available on Wednesday, with early access from Tuesday via our Patreon.Come and see Taylor and Hannah LIVE! -They will be at Ventnor Fringe on 26th and 27th July 2024-At this year's London Podcast Festival, mashing with The Ghost Huns Podcast to bring you Drunk Huns Solving Ghosts-AND tickets are now on sale for their double header Christmas Show at The Brighton Komedia on 16th December 2024All details and ticket links can be found here - Drunk Women Solving Crime - The UK's hit true crime comedy podcast Hosted on Acast. See acast.com/privacy for more information.

Launching Series 2, we have one of the leading cultural voices in the UK on the show, presenter and broadcaster Julie Adenuga chatting to our host, author and broadcaster Liv Little.Julie speaks about her current relationship with movement, why reformer pilates has been game changing and why she constantly looks to challenge herself in work and life. Julie is joined by Nike trainer Rebekah Jade, who chats through her love for yoga, flexibility, and the importance of the mind-body connection when it comes to getting that workout in.If you want to get in touch with the show, email us podcasts@elleuk.comFollow Liv Little on Instagram @livslittleFollow Julie Adenuga on Instagram @julieadenugaFollow Rebekah Jade on Instagram @rebekahzeenajadeIn association with @nikewellcollectiveHosted on Acast. See acast.com/privacy-policy for more information. Hosted on Acast. See acast.com/privacy for more information.

Welcome back to your favourite Fashion & Pop Culture podcast! This week we are joined by presenter, interviewer, content creator and all-round hot girl Julie Adenuga. We discuss how we met, her switch up in style and of course her new youtube show Work In Progress. 00:00 - Introduction: Work In Progress launch party, Julies Top 5 Renaissance event 08:50 - Who is Julie Adenuga? 16:05 - How we (SACD) met Julie Adenuga (and became BFFL's) 28:21 - Julie, the fashion Icon! We get into the nitty gritty of Julie's new elevated style and when this transition occurred, working with her stylist to create significant moments and stepping into her feminine energy 51:00 - We discuss Work In Progress, Julie's new interview show on youtube, how to secure interviews and using previous work as influence www.youtube.com/@donttrustthenet www.instagram.com/julieadenuga You can watch the episode here https://youtu.be/84WfJQF8R-0 If you want more, join us on Patreon for extra exclusive episodes: www.patreon.com/styleandcitydiares You can find us here... Instagram: @Styleandcitydiaries / @prinnyraee / @amberleaux / @prinnyxamber Twitter: @Stylecitydiary / @prinnyrae / @amberleaux Tiktok: @Styleandcitydiaries / @prinnyraee / @amberleaux Youtube: Prinny and Amber Email: info@styleandcitydiaries.com www.styleandcitydiaries.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Seasoned Sessions! This week we're joined by the lovely Julie Adenuga to talk about her new show, and more. Get in touch with us at ⁠@seasonedsessionspod,⁠ ⁠@adaenechi,⁠ and ⁠@its_hanifahh⁠. Let us know what you think about Seasoned Solutions, and leave any questions/problems/thoughts you'd like us to discuss in ⁠this form.⁠ Have a great week!

Jammer is considered a triple OG in the UK music industry. As a pioneer of the UK's grime scene, the MC, rapper, songwriter, and record producer is infamously known as a member of Boy Better Know (BBK) alongside fellow legends Skepta, and JME. He's also behind the Lord of the Mics clash series. In 2022 Jammer launched a new project, Top Producer - a 5-part competition show for music producers, where each episode Jammer and his guests (Julie Adenuga, Rude Kid, D Double E, and Cktrl) judge and score beat submissions made by up and coming producers from around the UK and beyond. We caught up with Jammer to get some insight into his journey so far. Top Producer is available to watch via https://www.youtube.com/watch?v=RXfkr0vqUlQ (Trend Cntrl) on YouTube

All uploads on this channel are for promotional purposes only! The music has been converted before uploading to prevent ripping and to protect the artist(s) and label(s). If you don't want your content here (that goes for audio or images) please contact me immediately via email: unpluggedtube@outlook.it and I WILL REMOVE THE EPISODE OR ARTWORK IMMEDIATELY! ---------------------------------------------------------------------------------------------------- Sam Smith for an Amazon Music exclusive livestream chat (previously recorded) with Julie Adenuga from Union Chapel in London to discuss their music, how they're dealing with lockdown, having kids, and Sam's dream of opening up a gay bar in their hometown! Listen to Sam Smith on Amazon Music. #AmazonMusic #SamSmith #JulieAdenuga Team UNPLUGGED.  

George's Train of Thought travels through the madness of 2020 to find light at the end of the tunnel - his audience. The success of this journey depends on your next move. You've heard George's podcast, and now George wants to hear from you. He's driven by the idea that Black culture could one day provide economic security for Black people worldwide. As a listener, you play a special part in this vision. George's Train of Thought is departing from his new online platform, built for the Chapter 3 audience. Your seat has been reserved: www.gtpcg.com for more Credits: Written by George the Poet Produced by Benbrick and George the Poet Mixing, recording and editing by Benbrick. With music from: J Hus - Repeat (feat. Koffee) Marc Five - It's Go Stormzy - Crown All original music is written by Benbrick and recorded by the BBC Concert Orchestra. We had the following guests: George's nephews, Sandra Makumbi, Marc 5, Darshan Sanghrajka, Anne Whitehead, Benbrick. Thank you to: My team Sandra, Vidhu, and Birungi. The Common Ground team. Dylan Haskins and the team at BBC Sounds, BBC Concert Orchestra, JET magazine, AKA Dope, CNN, Podbible, NTV Uganda, David Lammy, Windrush Campaigner Anthony Brown, Florence Eshalomi, Jane Wing, Remel, Mo, Julie Adenuga, Krishnan Guru-Murthy, Robert Bruce, John Boyega, Evan Rogers, Jade Alleyne, Anne Isger, Tom Kelly & Adam Miller. Archive: The quote from John Lennon on importance of Black Music at 06:50 is taken from JET - A Johnson Publication. October 26, 1972, Vol XLIII, No. 5. We use various clips of people talking about George's work between 08:18 and 08:40: Remel London (taken from George's Black Lives Still Matter YouTube show), Mo Gilligan and Julie Adenuga (from the GRM Awards), Krishnan Guru-Murthy (taken from Ways to Change The World podcast), AKA Dope introducing George, and Robert Bruce (from George's MOBO Instagram Live). The two clips used between 09:38 and 09:59 on George's headphones are taken from George's CNN interview, and Podbible episode #39. We used various clips over Stormzy's Crown: the BBC News report on Feltham Young Offenders Institute (used at 15:09), NTV Uganda Report on the Presidential campaign (used at 15:19), the BBC News report “Thousands join anti-racism demonstrations across the UK” (used at 15:24). We also had various voices in this section - John Boyega (used at 15:35), David Lammy talking about the treatment of the Windrush Generation taken from Parliament TV (used at 16:20, and 16:46), Windrush Campaigner Anthony Brown on Sky News (used at 16:34), Florence Eshalomi on structural inequality taken from Channel 4 (used at 17:01), and The Guardian's 'Just the Beginning': Voices from the Black Lives Matter protest in London video (used at 17:11). Soundtrack: Benbrick - My Nephews 04:17 - 08:10 J Hus - Repeat (feat. Koffee) 08:13 - 10:42 Benbrick - The Secret to Survival 11:36 - 12:42 Marc Five - It's Go 12:57 - 14:11 Stormzy - Crown 14:20 - 17:40 Benbrick - Train of Thought 20:49 - 24:44 Benbrick - The Secret to Survival 24:55 - 26:26 Have You Heard George's Podcast? is a George the Poet production for BBC Sounds. Commissioning Executive for BBC: Dylan Haskins

This week I spoke to one of my oldest and dearest friends and best man at my wedding; Craig David. We spoke about creativity as an outlet to keep you sane, gigging together at Live 8, getting lifts to clubs in his mum's Fiat Uno and just why he is the most hydrated man in show business. Presenter and radio host Julie Adenuga joined us and totally blew me away with the strength of her answers. She shared her thoughts on how awareness can lead to mind blocks, how meditation has been helping her though lockdown, whether her Nigerian parents' displacement attributed to her and her brothers' creative careers, and how no, we don't really care Listen to the 12 Questions album here

We’re breaking off the next hundred with radio presenter and co-host of MTV’s ‘Catfish UK’, Julie Adenuga! There’s a game that the listeners can get involved with, and Julie and Ed come to blows…‘Catfish UK’ is on Wednesdays at 9pm, only on MTV. Follow Julie on Twitter and Instagram @JulieAdenuga. Recorded by and edited by Ben Williams for Plosive Productions.Artwork by Paul Gilbey (photography and design) and Amy Browne (illustrations).Follow Off Menu on Twitter and Instagram: @offmenuofficial.And go to our website www.offmenupodcast.co.uk for a list of restaurants recommended on the show.Watch Ed and James's YouTube series 'Just Puddings'. Watch here. See acast.com/privacy for privacy and opt-out information.

The boys are back with another live streamed podcast for your ears joined by special guest Zerne. Discussion includes: New Music: Central Cee “Wild West”, Wstrn “Mama Say”, Timbo & Swizz sell Verzuz to Triller New TV: Notorious BIG “I Got A Story to Tell”, Snowfall, Julie Adenuga announced as host of MTV Catfish UK with Oobah Butler Meghan and Harry Oprah interview Piers Morgan quits GMB after more than 41K complaints to ofcom Why do black people constantly have to explain racism? Police officer Wayne Couzens arrested charged with murder of Sarah Everard Baroness Jones suggests a curfew of 6pm for men in parliament The vigil Rape culture & the protection of women George Floyd family to receive $27m Catch the boys every Sunday 8pm (GMT) on Instagram: instagram.com/dainesays instagram.com/djillnessuk instagram.com/thetakepoduk

Subject to change depending on our mood, the day of the week or if we are on our periods. LOL The Episode was inspired by Julie Adenuga series called "Top 5" You can also watch this episode on Youtube https://youtu.be/Lqf1aPYNjY0 FOLLOW US ON INSTAGRAM @TheEaseDrop @SimplyMon3 @LoveLayefa

Yusuff, Gina and Julie Adenuga discuss, Our favourite concerts, Pregnancy buddies, Top 5 sex positions, The Adenuga family, Julie's love life update, Dutchavelli, Octavian, Strangest food's we've eaten, why does Julie continue to deny her friendship with Yusuff and much more. Song Of The Week: Yus: Scorcher feat. Ay Em - Cookies Gina: Olamide - Loading Brent: Blxst - Overrated Julie: Scribz Riley - Mandy Listener song of the week - Nii: Jessie Riyaz and & 6lack - Imported Trendin Friday 4th December: https://shoobs.com/events/55017/trendin Yusuff Twitter and Instagram: @bigmanyus Email: bigmanyus@gmail.com Album Cuts Podcast: linktr.ee/albumcuts Gina Twitter, Instagram and Snapchat: @just_geen Email: info@justgeen.com YouTube: https://www.youtube.com/channel/UCX4om9JCBaCsEaVGD8PMOfQ Podcast Twitter and Instagram: @meetusafter7 Youtube https://www.youtube.com/channel/UCV1dJpQOJA-9d4FXvG9hynw Dilemmas, questions and to get in touch with us: meetusafter7@gmail.com

Ify Adenuga has a conversation with Tom about growing up in Nigeria during the Biafran Civil War, moving to Britain, and then taking a risk by retraining at University whilst also working and bringing up her kids. Her efforts to provide a happy and free environment for her children have helped result in enormous success for them: they are the iconic rappers, Skepta and JME, the Apple Music radio presenter, Julie Adenuga and the illustrator, Jason Adenuga. Ify's fascinating new book, Endless Fortune, tells her amazing story.

DJ EDOTT LIVE ON SIGNAL! #FrancophoneParty #KOMPA #RUMBA #SEBEN #ZOUK #FRENCHAFRO #MAPOUKA #NDOMBOLO `Nothing But BANGERZ & THROWBACKS!! Over the last 3 months, No Signal has been keeping communities around the world entertained. From the legendary standoff between Wizkid and Vybz Kartel as part of the iconic #NS10v10 series and premiering exclusive tracks from some of our favourite UK artists such as Millionz and Unknown T to hosting important community-led conversations around #BlackLivesMatter and supporting initiatives such as The BYP Network and The Black Curriculum. We've had incredible guests such as Julie Adenuga, Ian Wright, and Ray BLK gracing our airwaves, with special shoutouts from O.G's such as Daniel Sturridge and Adele. No Signal has created a home for a wave of New Black Radio. Now, we want to make that home permanent. With your help, we are looking to crowdfund £450,000 to secure HR Studio 1 - a home for all High Roller operations, including your favourite new radio station No Signal, and your favourite party RECESS - to begin building a new generation of Black-owned media and entertainment. #NSStudioFund www.gofundme.com/f/no-signal-broadcast-studio

TIMESTAMPS AVAILABLE BELOW! Calum Root films and produces some of the biggest podcasts in the UK scene right now such as Halfcast Podcast, Poet and Vuj and Julie Adenuga's Top 5. Hussein and Haider had the pleasure of welcoming him on to the H Squared Podcast to find out about his career so far as well as discussing the whole UK scene and sharing our thoughts on the madness with Will Smith & Jada Pinkett. We hope you enjoy, as always. Please don't forget to SHARE & SUBSCRIBE if you enjoyed the discussion and follow us on instagram @hsquaredpodcast to have an input in what we talk about next time! TIMESTAMPSIntro and wafflin - 00:00Introducing Calum Root (and what he does) - 03:32Calum's Journey - 06:04Current Projects (and how they came about) - 31:50The UK Scene - 38:16Calum's Future Projects- 55:06Will Smith, Jada Pinkett & Entanglements - 59:13Outro - 1:05:47

Nothing But BANGERZ & THROWBACKS!! DJ EDOTT LIVE ON NO SIGNAL RADIO! Over the last 3 months, No Signal has been keeping communities around the world entertained. From the legendary standoff between Wizkid and Vybz Kartel as part of the iconic #NS10v10 series and premiering exclusive tracks from some of our favourite UK artists such as Millionz and Unknown T to hosting important community-led conversations around #BlackLivesMatter and supporting initiatives such as The BYP Network and The Black Curriculum. We've had incredible guests such as Julie Adenuga, Ian Wright, and Ray BLK gracing our airwaves, with special shoutouts from O.G's such as Daniel Sturridge and Adele. No Signal has created a home for a wave of New Black Radio. Now, we want to make that home permanent. With your help, we are looking to crowdfund £450,000 to secure HR Studio 1 - a home for all High Roller operations, including your favourite new radio station No Signal, and your favourite party RECESS - to begin building a new generation of Black-owned media and entertainment. #NSStudioFund https://www.gofundme.com/f/no-signal-broadcast-studio

#FrancoPhone Party Celebrating Congo Independence #CONGOTAKEOVER EVERY SUNDAY ON NO SIGNAL 5 - 7 PM ! Nothing But BANGERZ & THROWBACKS!! DJ EDOTT LIVE ON NO SIGNAL RADIO! Over the last 3 months, No Signal has been keeping communities around the world entertained. From the legendary standoff between Wizkid and Vybz Kartel as part of the iconic #NS10v10 series and premiering exclusive tracks from some of our favourite UK artists such as Millionz and Unknown T to hosting important community-led conversations around #BlackLivesMatter and supporting initiatives such as The BYP Network and The Black Curriculum. We've had incredible guests such as Julie Adenuga, Ian Wright, and Ray BLK gracing our airwaves, with special shoutouts from O.G's such as Daniel Sturridge and Adele. No Signal has created a home for a wave of New Black Radio. Now, we want to make that home permanent. With your help, we are looking to crowdfund £450,000 to secure HR Studio 1 - a home for all High Roller operations, including your favourite new radio station No Signal, and your favourite party RECESS - to begin building a new generation of Black-owned media and entertainment. #NSStudioFund https://www.gofundme.com/f/no-signal-broadcast-studio La Base Radio Show

Launched as a panel in 2015, TTYA Talks is a platform curated by Irene Agbontaen focusing on navigating through a creative career, providing global access to successful women working within the creative industry and sports.

Yusuff and Gina discuss Wretch 32 and Scorcher, Love Island, Power (37:47), Phillip Schofield, Zaya Wade, they call some of their friends and family to wish them a Happy Valentine's Day (Jesse, Marvin Abbey, Tazer Black, Oloni, Tolly T, Chiso, Disu, Julie Adenuga, Gloria, and Georgia) and much more. Yusuff Twitter and Instagram: @bigmanyus Email: bigmanyus@gmail.com Album Cuts Podcast: linktr.ee/albumcuts Gina Twitter, Instagram and Snapchat: @just_geen Email: info@justgeen.com YouTube: https://www.youtube.com/channel/UCX4om9JCBaCsEaVGD8PMOfQ Podcast Twitter and Instagram: @meetusafter7 Youtube https://www.youtube.com/channel/UCV1dJpQOJA-9d4FXvG9hynw Dilemmas, questions and to get in touch with us: meetusafter7@gmail.com TrendinMalta.com RevSundays.com Trendin Sundays 1st March - https://shoobs.com/events/49942/trendin

George’s relationships continue to fall apart as his mind descends into a battlefield. Written by George The Poet. Produced by Benbrick & George The Poet. Original music by Benbrick. Featured songs: Empire Army by Vybz Kartel, Must Be by J Hus, No Manners by Teyana Taylor, Wishing On A Star by Rose Royce Featured guests: Julie Adenuga as Dija, Lola, Jawad Ifraz, Andrew Bell, Chris Bernard, Stephen Boateng, Sir Martyn Lewis, Kenny Imafidon, Patrin, Tasneim Zyada, Aaron Daniels, Lams, Tyra Mai, and Vidhu Sharma Have You Heard George’s Podcast? is a George the Poet production for BBC Sounds. Commissioning Executive for BBC: Dylan Haskins Commissioning Editor for BBC: Jason Phipps

Having lost his way, George encounters a mysterious figure who offers to help him, but on one condition. Chaos ensues as the poet ends up travelling 10 years into the future. Written by George The Poet Produced by Benbrick & George The Poet Original music by Benbrick Featured songs: High For This by The Weeknd, Both by Headie One, Gigantalous by SL Featured guests: Jamala as Samira the Oracle, Julie Adenuga as Dija, Sir Martyn Lewis as the Newsreader, J Man as Genna, GK as Spinner, George’s Mum, Diggy, Natalie, Zizi, Vidhu, Cristale, Young Talented Individuals, Lola, Damini Thank you to Matthew Walker and Penguin for allowing us to use elements from the book Why We Sleep Have You Heard George’s Podcast? is a George the Poet production for BBC Sounds Commissioning Executive for BBC: Dylan Haskins Commissioning Editor for BBC: Jason Phipps

An intimate portrait of George’s love life highlights his struggles to keep a work/life balance. He constructs an elaborate analogy that spirals out of control, leaving him lost. Written by George The Poet. Produced by Benbrick & George The Poet. Original music by Benbrick. Featured songs: Up Late by Ari Lennox, Running by IAMDDB, What Do You Mean? (feat. J Hus) by Skepta. Featured guests: Julie Adenuga as Dija, TrueMendous as Trudy This episode features clips taken from Knight Rider, Aladdin, Rick and Morty, and Space Jam. Knight Rider (2008) directed by Steve Shill. Production Company: Dutch Oven, Universal Media Studios (UMS). Distributor: National Broadcasting Company (NBC). Clip appears at 00:10:53 Aladdin (1992) directed by Ron Clements & John Musker. Production Company: Walt Disney Pictures, Silver Screen Partners IV, Walt Disney Feature Animation. Distributor: Buenva vista Pictures. Clip appears at 00:14:51 Rick and Morty (Season 1, Episode 3 Anatomy Park), directed by John Rice, Pete Michels. Production Company: Harmonius Claptrap. Justin Roiland’s Solo Vanity Card Productions, Starburns Industries, Williams Street. Distributed by Warner Home Video. Clip appears at 00:14:55 Space Jam (1996) directed by Joe Pytka. Production Company: Warner Bros., Northern Lights Entertainment, Warner Bros. Animation, Warner Bros. Feature Animation. Distributor: Fathom Events, Warner Bros. Clip appears at 00:15:01 Have You Heard George’s Podcast? is a George the Poet production for BBC Sounds. Commissioning Executive for BBC: Dylan Haskins Commissioning Editor for BBC: Jason Phipps

George reflects on the role of trauma in black art. A slice of American history provides insight into the ghettoisation of African voices, leading to a strangely familiar story. Written by George The Poet. Produced by Benbrick & George The Poet. Original music by Benbrick. Featured songs: Across 110th Street by Bobby Womack, The Message by Grandmaster Flash, Ghetto Quran by 50 Cent, Many Men (Wish Death) by 50 Cent Featured guests: Julie Adenuga as Dija This episode features clips taken from Foxy Brown, Trouble Man, The Spook Who Sat By The Door, and The Mack. It also features comments from Vonetta McGee, Oscar Williams, and Jim Brown taken from the documentary Black Hollywood: Blaxploitation And Advancing An Independent Black Cinema (1984). The clip of Cicely Tyson is taken from an interview with ABC News (1972) and appears at 00:07:26. These comments on Blaxploitation are chosen to show that black people working within different areas of the movie industry had similar reservations and concerns in how black people were being used as accessories, and that even back in the 1970’s-1980’s that feeling was understood and could be voiced clearly and concisely. The quotes by Ari Melber on 50 Cent growing up in Queens and surviving a 9-shot gun attack are taken from the October 2nd episode of The Beat With Ari Melber produced by MSNBC Network. Clip appears at 00:23:23. Foxy Brown (1974) directed by Jack Hill. Production Company: American International Pictures (AIP), Hollywood West Entertainment. Distributor: American International Pictures (AIP). Clip appears at 00:06:46 Trouble Man (1972) directed by Ivan Dixon. Production Company: JDF/B Productions. Distributor: Twentieth Century Fox. 00:06:49 The Spook Who Sat By The Door (1973) directed by Ivan Dixon. Production Company: Bokari. Distributor: United Artists. 00:06:54 The Mack (1973) directed by Michael Campus. Production Company: Harbor Productions, Harvey Bernhard Enterprises. Distributor: Cinerama Releasing. Clip appears at 00:06:57 Black Hollywood: Blaxploitation And Advancing An Independent Black Cinema (1984) directed by Howard Johnson. Distributed by Screen Edge / MVD. Featuring clips of Actress and Producer Vonetta McGee, Writer and Director Oscar Williams, and Actor and Producer Jim Brown. Clips appear at 00:07:34, 00:07:39, 00:07:44, and 00:08:13. Additional clips from the BBC Archive: Panorama Crack Crisis – Is Britain Next? The U.S. Presidential Inauguration of Ronald Reagan Friday Night With Jonathan Ross (courtesy of Open Mike Productions) Top Of The Pops Saturday The Graham Norton Show (courtesy of So Television) We also used clips from the Pan African Alliance documentary The Nation of Gods and Earths: Who are the Five Percenters? Have You Heard George’s Podcast? is a George the Poet production for BBC Sounds. Commissioning Executive for BBC: Dylan Haskins Commissioning Editor for BBC: Jason Phipps

In this episode the boys discuss Dizzee Rascals interview hosted by Julie Adenuga , the guys also talk about Stormzy, Skepta and Adele, and more. Join us!!

Episode 12 sees the show flex it’s versatility. Instead of the normal format, episode 12 is a straight interview almost exactly akin to that of Beats 1. Crews does his best Zane Lowe, Ebro Darden or or Julie Adenuga impression while he introduces musician Daniel Ratliff into the fold. Ratliff ponders his music motivations, desires, his former success on the now dead app Vine, his experiences with Blake Griffin, Chris Brown’s body count and where music streaming can go next in this candid interview.

On Episode 140 Yusuff and Gina are joined by Julie Adenuga and they discuss Why Julie stopped talking to Yusuff, Piers Morgan, Alex Mann, Dave and Glastonbury. What's your type?, Being single, The end of the world, Shining your eyes, Dating terminologies and proper use, Why do you want to have kids? and much more. Yusuff Twitter and Instagram: @bigmanyus Email: bigmanyus@gmail.com Album Cuts Podcast: linktr.ee/albumcuts Trendin: https://shoobs.com/events/41631/trendin Every Sunday Time: 6:00pm - 12:00am Location: We Are Bar, 155 Bishopsgate, Spitalfields, London. EC2M 3TQ. Games, Music, Shisha, Food and Drink, Fun, Dance, Party, Chill and Hang out. Gina Twitter, Instagram and Snapchat: @just_geen Email: info@justgeen.com YouTube: https://www.youtube.com/channel/UCX4om9JCBaCsEaVGD8PMOfQ Podcast Twitter and Instagram: @meetusafter7 Youtube https://www.youtube.com/channel/UCV1dJpQOJA-9d4FXvG9hynw Dilemmas, questions and to get in touch with us: meetusafter7@gmail.com

We are back with another episode of The Intersection. I got to sit down with my friends Alto and Kendolyn and talk about black music month and all things black black girl magic. We explore our favorite old school artists and new school. We also talk a lot about women in Hip-Hop and there is a glaring thing i noted we didn't talk about the trailblazers for the new women in hip-hop, so I made a playlist with just the women in hip-hop that paved the way for this new group of women in the game. This is not a playlist that you should listen to with kids around. I REPEAT THERE IS EXPLICIT CONTENT IN THAT PLAYLIST!In terms of some the links we talked about during Eyes, Ears, Heart, section you should check out Julie Adenuga's Top 5, The Warmth of Other Suns by Isabella Wilkerson, and season 5 of Black Mirror is our and ready for y'all. For the updated version of my monthly playlist click here.I hope you have an amazing week celebrating during World Pride and Black Music month. Go follow my guests Alto on Instagram and Twitter and Kendolyn on Instagram and her radio show, City Love on the Radio. Rate, comment, subscribe, share, and if you have any questions or have things you want me to cover, don't hesitate to reach out on Instagram or Twitter and you can email me at theintersectionpodcast@gmail.com.

This week we have the amazing Julie Adenuga as a special guest. We talk about sampling the D before actually getting the D, Julie's music taste and if love is actually real. #TheReceiptsPodcast is a fun, honest podcast fronted by three girls who are willing to talk about anything and everything. From relationships to situationships to everyday life experiences, you can expect unadulterated girl talk with no filter. Hosts: Audrey Twitter: @Ghanasfinestx Instagram: @Ghanas_Finest Tolani Twitter: @Tolly_T Instagram: @Tolly_T Milena Sanchez Twitter: @Milenasanchezx Instagram: @milenasanchezx Get in touch and share your receipts with us, keepthereceipts@gmail.com

Julie Adenuga & guest Gen came in to have an in depth conversation about commitment issues and depression. Gen opened up about being close to suicide but picking himself up. Plus, is Dj Akademiks and 6ix9ine friends??? #HalfcastPodcast @ChuckieOnline @JulieAdenuga Guest: @GenMusic__ Instagram.com/halfcastpod

Sofie talks to DJ and Grimer (!) Julie Adenuga about grime music from East London and the impact it has had on politics this year, understanding people, internet arguments, what ‘girly’ is and isn't, and attending parties as an introvert.   Artwork by Linda Brinkhaus Jingle by Bailey Lenart A huge thanks to Phoenix Artist Club in London for letting me record my podcast and do my shows with them. Special thanks to Peter Dunbar.   Made of Human Podcast online: Twitter: @podmoh Facebook: facebook.com/madeofhumanpodcast Web: madeofhumanpodcast.com Patreon: patreon.com/mohpod   Sofie Hagen online: Twitter: @SofieHagen Facebook: facebook.com/sofiehagen.komiker Web: sofiehagen.com Instagram: @sofiehagendk See acast.com/privacy for privacy and opt-out information.

TBC Podcast returns for a brand new edition, featuring a very very special guest, as Julie Adenuga rolled through to our office. Hosts Rebecca Judd, Rene and Trudy Barry - sans Mikill Pane this time around - sat down with the multitalented industry head to talk about her illustrious career so far. From her radio beginnings on Rinse, to fronting the London branch of Beats 1; from being the first ever writer on GRM Daily (yes, really), to her brother Skepta winning the prestigious Rated Award. There's also some bonus insight into the Adenuga family dynamic. Just hear her jokes story on trying to find a vegan restaurant in Nigeria with Jme! See acast.com/privacy for privacy and opt-out information.

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. It comes across clumsy and mismatched, alienating and lazy, rather than the inclusive, ‘worldwide', gritty and new-age aesthetic it needs to succeed. – Bibliography Apple (2014) ‘HTTP Live Streaming Overview' On: iOS Developer Library [Accessed 01 January 2016] Apple (2015) Apple – WWDC 2015. [Online Video], 15 June. [Accessed 01 October 2015] Apple (2015b) Music: Radio [Online] [Accessed 01 October 2015] Apple (2015c) Availability of Apple Music, Apple Music Radio, and iTunes Match [online] [Accessed 01 October 2015] AudioAgain (2014) LBC Podcasts [online] [Accessed 21 January 2016] Baldwin, R. (2013) ‘Apple Dials in iTunes Radio, a New Streaming Music Service'; Wired. [online] [Accessed 24 November 2015] BBC (2009) ‘BBC's international news services attract record global audience of 238 million' On: BBC Press Office. 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In Episode 9, the guys of Macnificent discuss Apple's newest service, Apple Music. We take a look at Beats 1, Apple Music Connect, and the music curation and DJ's of Beats 1 - Zane Lowe, Julie Adenuga, and Ebro Darden.  We talk more about Apple Music. Ian talks about the experience of using an iPad as a computer replacement. Somethings of the Week: Waze Dreaming with Jeff Bridges Dark Sky Weather App