In the second half of the twentieth century, new sounds began to reverberate across the United States. The voices of African-Americans as well as of women, Latinx, queer, and trans people broke through in social movements, street protests, and in media stories of political and social disruption. Postwar America literally sounded different. This book argues that new technologies and new mobilities sharpened American attention to these audibly coded identities, on the radio, on the streets and highways, in new music, and on television. Covering the Puerto Rican migration to New York in the 1950s, the varying uses of CB radio by white and African American citizens in the 1970s, and the emergence of audible queerness, Art M. Blake attunes us to the sounds of race, mobility, and audible difference. As he argues, marginalized groups disrupted the postwar machine age by using new media technologies to make themselves heard.

In the second half of the twentieth century, new sounds began to reverberate across the United States. The voices of African-Americans as well as of women, Latinx, queer, and trans people broke through in social movements, street protests, and in media stories of political and social disruption. Postwar America literally sounded different. This book argues that new technologies and new mobilities sharpened American attention to these audibly coded identities, on the radio, on the streets and highways, in new music, and on television. Covering the Puerto Rican migration to New York in the 1950s, the varying uses of CB radio by white and African American citizens in the 1970s, and the emergence of audible queerness, Art M. Blake attunes us to the sounds of race, mobility, and audible difference. As he argues, marginalized groups disrupted the postwar machine age by using new media technologies to make themselves heard.

This comprehensive companion is a much-needed reference source for the expanding field of radio, audio, and podcast study, taking readers through a diverse range of essays examining the core questions and key debates surrounding radio practices, technologies, industries, policies, resources, histories, and relationships with audiences. Drawing together original essays from well-established and emerging scholars to conceptualize this multidisciplinary field, this book’s global perspective acknowledges radio’s enduring affinity with the local, historical relationship to the national, and its unpredictably transnational reach. In its capacious understanding of what constitutes radio, this collection also recognizes the latent time-and-space shifting possibilities of radio broadcasting, and of the myriad ways for audio to come to us 'live.' Chapters on terrestrial radio mingle with studies of podcasts and streaming audio, emphasizing continuities and innovations in form and content, delivery and reception, production cultures and aesthetics, reminding us that neither 'radio' nor 'podcasting' should be approached as static objects of analysis but rather as mutually constituting cultural forms. This cutting-edge and vibrant companion provides a rich resource for scholars and students of history, art theory, industry studies, journalism, media and communication, cultural studies, feminist analysis, and postcolonial studies. Chapter 42 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

This book focuses on two commercial radio stations, Radio Luxembourg and Europe n°1, which were popular institutions in Western Europe throughout the Long Sixties, working across media and broadcasting transnationally. It argues that the existence of an overarching ‘dispositif ’ of commercial radio stations enabled them to operate on various dimensions and differentiated them from other broadcasters. The book therefore answers current calls in media history to look beyond national and single-medium borders and contributes to the cultural and media history of Western Europe.

Latinx peoples and culture have permeated Shakespearean performance in the United States for over 75 years—a phenomenon that, until now, has been largely overlooked as Shakespeare studies has taken a global turn in recent years. Author Carla Della Gatta argues that theater-makers and historians must acknowledge this presence and influence in order to truly engage the complexity of American Shakespeares. Latinx Shakespeares investigates the history, dramaturgy, and language of the more than 140 Latinx-themed Shakespearean productions in the United States since the 1960s—the era of West Side Story. This first-ever book of Latinx representation in the most-performed playwright’s canon offers a new methodology for reading ethnic theater looks beyond the visual to prioritize aural signifiers such as music, accents, and the Spanish language. The book’s focus is on textual adaptations or performances in which Shakespearean plays, stories, or characters are made Latinx through stage techniques, aesthetics, processes for art-making (including casting), and modes of storytelling. The case studies range from performances at large repertory theaters to small community theaters and from established directors to emerging playwrights. To analyze these productions, the book draws on interviews with practitioners, script analysis, first-hand practitioner insight, and interdisciplinary theoretical lenses, largely by scholars of color. Latinx Shakespeares moves toward healing by reclaiming Shakespeare as a borrower, adapter, and creator of language whose oeuvre has too often been mobilized in the service of a culturally specific English-language whiteness that cannot extricate itself from its origins within the establishment of European/British colonialism/imperialism.

The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.

As World War II drew to a close and radio news was popularized through overseas broadcasting, journalists and dramatists began to build upon the unprecedented success of war reporting on the radio by creating audio documentaries. Focusing particularly on the work of radio luminaries such as Edward R. Murrow, Fred Friendly, Norman Corwin, and Erik Barnouw, Radio Utopia: Postwar Audio Documentary in the Public Interest traces this crucial phase in American radio history, significant not only for its timing immediately before television, but also because it bridges the gap between the end of the World Wars and the beginning of the Cold War. Matthew C. Ehrlich closely examines the production of audio documentaries disseminated by major American commercial broadcast networks CBS, NBC, and ABC from 1945 to 1951. Audio documentary programs educated Americans about juvenile delinquency, slums, race relations, venereal disease, atomic energy, arms control, and other issues of public interest, but they typically stopped short of calling for radical change. Drawing on rare recordings and scripts, Ehrlich traces a crucial phase in the evolution of news documentary, as docudramas featuring actors were supplanted by reality-based programs that took advantage of new recording technology. Paralleling that shift from drama to realism was a shift in liberal thought from dreams of world peace to uneasy adjustments to a cold war mentality. Influenced by corporate competition and government regulations, radio programming reflected shifts in a range of political thought that included pacifism, liberalism, and McCarthyism. In showing how programming highlighted contradictions within journalism and documentary, Radio Utopia reveals radio's response to the political, economic, and cultural upheaval of the post-war era.

The Bloomsbury Handbook of Radio presents exciting new research on radio and audio, including broadcasting and podcasting. Since the birth of radio studies as a distinct subject in the 1990s, it has matured into a second wave of inquiry and scholarship. As broadcast radio has partly given way to podcasting and as community initiatives have pioneered more diverse and innovative approaches so scholars have embarked on new areas of inquiry. Divided into seven sections, the Handbook covers: - Communities - Entertainment - Democracy - Emotions - Listening - Studying Radio - Futures The Bloomsbury Handbook of Radio is designed to offer academics, researchers and practitioners an international, comprehensive collection of original essays written by a combination of well-established experts, new scholars and industry practitioners. Each section begins with an introduction by Hugh Chignell and Kathryn McDonald, putting into context each contribution, mapping the discipline and capturing new directions of radio research, while providing an invaluable resource for radio studies.

This compelling book offers important new insights into the connections among radio, race relations, and the civil rights and black power movements in the South from the 1920s to the mid-1970s. For the mass of African Americans--and many whites--living in the region during this period, radio was the foremost source of news and information. Consequently, it is impossible to fully understand the origins and development of the African American freedom struggle, changes in racial consciousness, and the transformation of southern racial practices without recognizing how radio simultaneously entertained, informed, educated, and mobilized black and white southerners. While focusing on civil rights activities in Atlanta, Birmingham, Charlotte, Washington, D.C., and the state of Mississippi, the book draws attention to less well-known sites of struggle such as Columbus, Georgia, and Columbia, South Carolina, where radio also played a vital role. It explains why key civil rights leaders like Martin Luther King and organizations such as the NAACP, SCLC, and SNCC put a premium on access to the radio, often finding it far more effective than the print media or television in advancing their cause. The book also documents how civil rights advocates used radio to try to influence white opinions on racial matters in the South and beyond, and how the broadcasting industry itself became the site of a protracted battle for black economic opportunity and access to a lucrative black consumer market. In addition, Ward rescues from historical obscurity a roster of colorful deejays, announcers, station managers, executives, and even the odd federal bureaucrat, who made significant contributions to the freedom struggle through radio. Winner of the AEJMC award for the best journalism and mass communication history book of 2004 and a 2004 Choice Outstanding Academic Title Award, this book restores radio to its rightful place in the history of black protest, race relations, and southern culture during the middle fifty years of the 20th century.

Race, sex, and gender.