British Radio Drama, 1945-1963 reveals the quality and range of the avant-garde radio broadcasts from the 'golden age' of British radio drama. Turning away from the cautious and conservative programming that emerged in the UK immediately after World War II, young generations of radio producers looked to French theatre, introducing writers such as Samuel Beckett and Eugene Ionesco to British radio audiences. This 'theatre of the absurd' triggered a renaissance of writing and production featuring the work of Giles Cooper, Rhys Adrian and Harold Pinter, as well as the launch of the BBC Radiophonic Workshop. Based on primary archival research and interviews with former BBC staff, Hugh Chignell places this high-point in the BBC's history in the broader context of British post-war culture, as norms of morality and behavior were re-negotiated in the shadow of the Cold War, while at once establishing the internationalism of post-war radio and theatre.

Every weekday, the wildly popular Tom Joyner Morning Show reaches more than eight million radio listeners. The show offers broadly progressive political talk, adult-oriented soul music, humor, advice, and celebrity gossip for largely older, largely working-class black audience. But it's not just an old-school show: it's an activist political forum and a key site reflecting on popular aesthetics. It focuses on issues affecting African Americans today, from the denigration of hard-working single mothers, to employment discrimination and sexual abuse, to the racism and violence endemic to the U.S. criminal justice system, to international tragedies. In Black Radio/Black Resistance, author Micaela di Leonardo dives deep into the Tom Joyner Morning Show's 25 year history inside larger U.S. broadcast history. From its rise in the Clinton era and its responses to key events-9/11, Hurricane Katrina, President Obama's elections and presidency, police murders of unarmed black Americans and the rise of Black Lives Matter, and Donald Trump's ascendancy-it has broadcast the varied, defiant, and darkly comic voices of its anchors, guests, and audience members. di Leonardo also investigates the new synergistic set of cross-medium ties and political connections that have affected print, broadcast, and online reporting and commentary in antiracist directions. This new multiracial progressive public sphere has extraordinary potential for shaping America's future. Thus Black Radio/Black Resistance does far more than simply shed light on a major counterpublic institution unjustly ignored for reasons of color, class, generation, and medium. It demonstrates an alternative understanding of the shifting black public sphere in the digital age. Like the show itself, Black Radio/Black Resistance is politically progressive, music-drenched, and blisteringly funny.