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“Will This Record Work for Us?”: Managing Music Formats in Commercial Radio
16 references·16 citing·30 second hopsampled
“Will This Record Work for Us?”: Managing Music Formats in Commercial Radio (2002)“Will This Record Work for Us?”: Managing…Methodology of Social Sciences (2017)Methodology of Social SciencesPopular Contention in Great Britain, 1758-1834 (2015)Popular Contention in Great B…Music Genres and Corporate Cultures (2010)Music Genres and Corporate Cu…Institutional Logics and the Historical Contingency of Power in Organizations: Executive Succession in the Higher Education Publishing Industry, 1958– 1990 (1999)Institutional Logics and the …Gatekeeping in Action: Editorial Conferences and Assessments of Newsworthiness (1998)Gatekeeping in Action: Editor…Performing rites: on the value of popular music (1997)Performing rites: on the valu…Popular Contention in Great Britain (1996)Popular Contention in Great B…Performing Rites (1996)Performing Rites"All Hits Are Flukes": Institutionalized Decision Making and the Rhetoric of Network Prime-Time Program Development (1994)"All Hits Are Flukes": Instit…Producing Pop: Culture and Conflict in the Popular Music Industry (1992)Producing Pop: Culture and Co…Differentiation of Boundary Spanning Roles: Labor Negotiations and Implications for Role Conflict (1992)Differentiation of Boundary S…Institutional Change and the Transformation of Interorganizational Fields: An Organizational History of the U.S. Radio Broadcasting Industry (1991)Institutional Change and the …An Intermediary Between Production and Consumption: The Producer of Popular Music (1989)An Intermediary Between Produ…Books: The Culture and Commerce of Publishing. (1983)Books: The Culture and Commer…Sound Effects: Youth, Leisure, and the Politics of Rock `n' Roll. (1982)Sound Effects: Youth, Leisure…Books: The Culture and Commerce of Publishing. By Lewis A. Coser, Charles Kadushin, and Walter W. Powell. (New York: Basic Books, 1982. Pp. xiii + 411. $19.00.) 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References

  • 1999Institutional Logics and the Historical Contingency of Power in Organizations: Executive Succession in the Higher Education Publishing Industry, 1958– 19903,241 cited
  • 2017Methodology of Social Sciences2,527 cited
  • 1997Performing rites: on the value of popular music1,310 cited
  • 1991Institutional Change and the Transformation of Interorganizational Fields: An Organizational History of the U.S. Radio Broadcasting Industry1,162 cited
  • 1996Performing Rites1,123 cited
  • 1982Sound Effects: Youth, Leisure, and the Politics of Rock `n' Roll.674 cited
  • 2010Music Genres and Corporate Cultures582 cited
  • 1996Popular Contention in Great Britain469 cited
  • 1992Differentiation of Boundary Spanning Roles: Labor Negotiations and Implications for Role Conflict437 cited
  • 1992Producing Pop: Culture and Conflict in the Popular Music Industry416 cited
  • 2015Popular Contention in Great Britain, 1758-1834358 cited
  • 1994"All Hits Are Flukes": Institutionalized Decision Making and the Rhetoric of Network Prime-Time Program Development330 cited
  • 1989An Intermediary Between Production and Consumption: The Producer of Popular Music238 cited
  • 1983Books: The Culture and Commerce of Publishing.227 cited
  • 1982

Only edges whose both ends are imported exist here. Widen the year window, or show the whole map. Back to the work

Books: The Culture and Commerce of Publishing. By Lewis A. Coser, Charles Kadushin, and Walter W. Powell. (New York: Basic Books, 1982. Pp. xiii + 411. $19.00.)
208 cited
  • 1998Gatekeeping in Action: Editorial Conferences and Assessments of Newsworthiness207 cited
  • Cited by

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    • 2007Reputation Work in Selling Film and Television: Life in the Hollywood Talent Industry88 cited
    • 2004Production perspectives in the sociology of music44 cited
    • 2005Charting Gender: The Success of Female Acts in the U.S. Mainstream Recording Market, 1940–199042 cited
    • 2004Predicting cultural output diversity in the radio industry, 1989–200234 cited
    • 2007Gender Role Stereotyping in Advertisements on Three Radio Stations: Does Musical Genre Make a Difference?26 cited
    • 2019Digitally forecasting new music product success via active crowdsourcing22 cited
    • 2012Institutionalized erasures: How global structures acquire national meanings in Israeli popular music19 cited
    • 2005Constraint and reproduction in an amateur craft institution: The conservative logic of the county fair17 cited
    • 2019Subordination and Legitimation of Self-Publishing: Shifting the Basis for Evaluation of Cultural Goods16 cited
    • 2012Gesellschaft im Spiegel der Zahlen – Die Rolle der Medien15 cited
    • 2011Music Radio and the Record Industry: Songs, Sounds, and Power14 cited
    • 2023Serendipity on radio and streaming: Between musical discovery and recognition9 cited
    • 2022Strategies for social engagement: Arts-service organizations as organizational intermediaries6 cited
    • 2020The annual music charts: the communal musical taste mix in Israel5 cited
    • 2012Alan Freed still casts a long shadow: the persistence of payola and the ambiguous value of music4 cited