Radio atas semua pesawat (2)
CATHERINE MARTIN
Radio
KEYWORDS comedy, gender, race, radio, sexuality
Radio studies is an inherently feminist endeavor. Radio was long considered too
commercial, too personal, too crowded with pop music, too frivolous, too . . .
feminine to be taken very seriously either in academia or in the culture at large.
My own introductions to radio studies and feminist radio studies were one and
the same. Even before returning to graduate school, I happened upon Michele
Hilmes’s landmark study Radio Voices through the serendipity of an
Amazon search. As others have noted before me, Hilmes masterfully mixes industrial and cultural history, with a heavy emphasis on gender. In her fifth chapter, “The Disembodied Woman,” she argues that gender is a “central conflict”
and formative influence in the evolution of American radio.1 Feminist radio
scholars are still answering her call to tease out the complex relationships between the women who have historically composed the majority of radio’s listeners and the medium’s broadcasters—a historically (but not exclusively) masculine
group of producers, writers, advertisers, and radio station owners.
Radio studies incorporates cultural studies, gender studies, and the aesthetic
tool kit it shares with film and literary studies. Indeed, feminists’ emphasis on
the importance of female-centric popular media helped make broadcasting an
acceptable academic focus.2 An intrinsically intertextual approach for an intertextual medium, scholarship on radio overlaps many other branches of media
inquiry, especially television. However, it is important to understand radio as its
own medium. Radio preceded television by some three decades, and many of
its industrial and aesthetic characteristics shaped its younger broadcast sibling’s
development. Radio continued to exist beyond its so-called Golden Age (generally agreed to span from the s to the early s), when the last American
network radio dramas made the leap to television in the early s. Radio
remains a vibrant, international site of public debate, cultural exchange, and
Feminist Media Histories, Vol. , Number , pps. –. electronic ISSN -. © by the Regents
of the University of California. All rights reserved. Please direct all requests for permission to photocopy
or reproduce article content through the University of California Press’s Reprints and Permissions web page,
http://www.ucpress.edu/journals.php?p=reprints. DOI: https://doi.org/./fmh.....
173
communication. Thus, scholars must continually reconsider what it means to
discuss radio’s audience and its temporality. As the definition of radio expands
to include satellite and web-based broadcasts, as well as podcasting, gendered
program boundaries blur and a wider range of feminist and queer representations find far-flung audiences.3
Early broadcasters courted prestige by distancing themselves from their supposedly lower-class “mass” female audiences—theoretically securely contained in
the daytime hours—and emphasizing their prestigious, masculine-identified
prime-time programming. This attitude dominated early radio histories focusing
on the industry’s development and well-known radio auteurs like Norman
Corwin or Orson Welles.4 Early feminist histories of American radio focused,
naturally enough, on its evolution as a commercial medium. Susan Smulyan’s
Selling Radio () traces broadcasters’ efforts to construct and sell advertisers
a coherent female audience of daytime listeners.5 The study of female-oriented
radio genres began with that most reviled of institutions, the soap opera.
Muriel G. Cantor and Suzanne Pingree in and Robert C. Allen in
were the first to seriously investigate radio soap opera production and poetics.6
Ellen Seiter, Jennifer Hyland Wang, Sarah Murray, and others have continued
this work, highlighting women’s creative roles, American broadcasters’ contentious
relationships with female listeners, efforts to confine women’s programming to
daytime hours, and ways soap operas shaped and challenged conventional gender
norms.7 British scholars like Lyn Thomas continue this analysis into the present
with their work on long-running BBC soaps like The Archers (–present).8
Expanding beyond the stereotypically feminine preserve of daytime, researchers have analyzed the transgressive potential of prime-time female comediennes
like Gracie Allen.9 Allison McCracken, Jennifer Fleeger, and Matthew Murray
explore the ways radio questioned, destabilized, and/or reasserted both female and
male gender and sexual identities in s and s comedy and suspense programming.10 Kathryn Fuller-Seeley’s recent history of Jack Benny’s popular comedy series (–) resurrects the memory of Mary Livingstone, Benny’s chief
stooge, and highlights the moments of sympathy between Mary, Rochester
(Benny’s African American butler), and female listeners.11 My own work focuses
on representations of working women in post–World War II crime and adventure series.12 Eleanor Patterson highlights gender’s continuing salience in collectors’ circulation of residual radio texts.13 Jason Loviglio notes the importance of
female announcers’ voices to NPR’s cultural work.14
More work remains to be done on American radio’s troubled racial history.
María Elena Cepeda and Dolores Inés Casillas’s The Routledge Companion to
174
FEMINIST MEDIA HISTORIES
SPRING 2018
Latina/o Media () collects numerous perspectives on gendered representations and Latina audiences on modern-day US Spanish-language radio.15 In
Broadcasting Freedom () Barbara Savage emphasizes African American
women’s role in World War II–era efforts to improve racial representation.16
Kathy M. Newman highlights advertisers’ halfhearted outreach to African
American audiences as white listeners decamped to television in the s, noting that many commercials were designed to reach affluent white housewives
possibly listening along with their Black domestics.17
As a domestic appliance, radio was a fundamentally feminine medium, but
women are often missing from archival records. Feminist radio studies seeks to
recover the lost stories of women working behind the scenes. In Susan
Douglas’s Inventing American Broadcasting, – began the difficult task
of writing women back into American radio history, noting women like
Nora Stanton Blatch, who helped her husband, Lee de Forest, develop and promote early radio technology.18 Donna Halper’s Invisible Stars () reviews
the broad range of women whose stories have been obscured in broadcast
history.19 Cynthia Meyers’s work on radio advertising foregrounds the roles of
women like Anne Hummert in the advertising industry, especially soap opera
production, beginning in the s and continuing to television.20 Amanda
Keeler recently examined Judith Waller’s s work on NBC’s educational
and public service offerings.21
While American broadcast media tend to take center stage, radio is an international medium. Kate Lacey’s Feminine Frequencies () analyzes how women’s radio programming in Weimar and Nazi Germany promoted feminine
domesticity, foregrounding early female broadcasters like Carola Hersel.22
Christine Ehrick shows how gendered soundscapes interacted with s to
s women’s rights movements in Argentina and Uruguay.23 Other recent
international scholarship scrutinizes female pirate radio operators in Ireland,
representations of lesbian culture and feminist radio collectives on British radio,
feminist radio production in Turkey, and representations of Muslim women on
Australia’s national broadcaster.24
Responding to the paucity of archival documents, especially from non-network
sources, feminist researchers are active in groups like the Radio Preservation Task
Force. A project of the Library of Congress National Recording Preservation Plan,
the RPTF seeks to identify, preserve, and encourage the use of endangered radio
collections. The RPTF’s Gender and Sexuality Caucus is currently working
to connect researchers and teachers with hidden archival gems. The Radio
Scholarly Interest Group within the Society for Cinema and Media Studies is
Martin | Radio
175
another important meeting place for US-based radio academics, and groups like
the UK-based Radio Studies Network hold annual conferences. Feminist radio
work appears consistently in journals like the Historical Journal of Film, Radio,
and Television, the Journal of Radio and Audio Media, and the internationally
focused Radio Journal, though it is not their central focus.
Despite these advances, feminist radio studies still has a niche status in
American universities. Radio researchers are distributed throughout media and
cultural studies disciplines, and radio is too often regarded as an afterthought in
historical and media scholarship, rather than an integral part of the industrial
and ideological media ecosystem.25 Interesting interventions might include analyses of the way radio adaptations and promotions domesticated and feminized
masculine-coded high-culture texts. Scholars focusing on prime-time radio genres and aesthetics still fall into the same gendered taste hierarchies as early
broadcasters and media studies scholarship, prioritizing male auteurs and canonical texts like Welles’s War of the Worlds () over more popular, massaudience texts. This focus ignores gender’s central role in shaping such hierarchies, which are being replicated on new formats like podcasting.26 It further
misses valuable opportunities to analyze the ways women and men might have
interacted with the range of radio messages and ignores the larger feminized
domestic environment in which listeners encountered such programs.
C ATHERINE M ARTIN is a PhD candidate in Boston University’s American and New England Studies
Program. Her dissertation, “You Don’t Have to Be a Bad Girl to Love Crime: Representations of
Women in American Radio and Television Crime Programming, 1945–1978,” analyzes representations of women in radio and television crime programs, with an emphasis on cultural depictions of
women’s labor between World War II and the emergence of second wave feminism. She currently
serves as graduate representative for the Radio Preservation Task Force, and her work has appeared in
the Velvet Light Trap.
NOTES
. Michele Hilmes, Radio Voices: American Broadcasting, – (Minneapolis:
University of Minnesota Press, ), .
. Michele Hilmes, “The Bad Object: Television in the American Academy,” Cinema
Journal , no. (): –.
. See Mél Hogan, “Dykes on Mykes: Podcasting and the Activist Archive,” TOPIA:
Canadian Journal of Cultural Studies (): –; Ragan Fox, “Sober Drag
Queens, Digital Forests, and Bloated ‘Lesbians’: Performing Gay Identities Online,”
Qualitative Inquiry , no. (): –.
. See Erik Barnouw’s three-part A History of Broadcasting in the United States: A
Tower in Babel, vol. , covering to ; The Golden Web, vol. , covering –;
176
FEMINIST MEDIA HISTORIES
SPRING 2018
and The Image Empire, vol. , covering to (New York: Oxford University Press,
, , ).
. Susan Smulyan, Selling Radio: The Commercialization of American Broadcasting,
– (Washington, DC: Smithsonian, ).
. Muriel G. Cantor and Suzanne Pingree, The Soap Opera (Beverly Hills, CA: Sage,
); Robert C. Allen, Speaking of Soap Operas (Chapel Hill: University of North
Carolina Press, ).
. Ellen Seiter, “‘To Teach and To Sell’: Irna Phillips and Her Sponsors, –,”
Journal of Film and Video , no. (): –; Jennifer Hyland Wang, “‘The Case of
the Radio-Active Housewife’: Relocating Radio in the Age of Television,” in Radio
Reader: Essays in the Cultural History of Radio, ed. Michele Hilmes and Jason Loviglio
(New York: Routledge, ), –; Sarah Murray, “The Radio Made Betty: Live
Trademarks, Disembodiment, and the Real,” Feminist Media Histories , no. ():
–; Jennifer Hyland Wang, “Producing a Radio Housewife: Clara, Lu ‘n’ Em,
Gendered Labor, and the Early Days of Radio,” Feminist Media Histories , no.
(): –; Jason Loviglio, Radio’s Intimate Public: Network Broadcasting And MassMediated Democracy (Minneapolis: University of Minnesota Press, ).
. Lyn Thomas, “The Archers: An Everyday Story of Old and New Media,” Radio
Journal , no. (): –.
. Susan J. Douglas, Listening In: Radio and the American Imagination (Minneapolis:
University of Minnesota Press, ).
. Allison McCracken, “Scary Women and Scarred Men: Suspense, Gender Trouble,
and Postwar Change, –,” in Radio Reader, –; Allison McCracken, Real
Men Don’t Sing: Crooning in American Culture (Durham, NC: Duke University Press,
); Jennifer Fleeger, Mismatched Women: The Siren’s Song through the Machine
(New York: Oxford University Press, ); Matthew Murray, “‘The Tendency to
Deprave and Corrupt Morals’: Regulation and Irregular Sexuality in Golden Age Radio
Comedy,” in Radio Reader, –.
. Kathryn H. Fuller-Seeley, Jack Benny and the Golden Age of American Radio
Comedy (Oakland: University of California Press, ), .
. Catherine Martin, “Adventure’s Fun, but Wouldn’t You Rather Get Married?:
Gender Roles and the Office Wife in Radio Detective Dramas,” Velvet Light Trap ,
no. (): –.
. Eleanor Patterson, “Radio Redux: The Persistence of Soundwork in the PostNetwork Era” (PhD diss., University of Wisconsin-Madison, ).
. Jason Loviglio, “Sound Effects: Gender, Voice and the Cultural Work of NPR,”
Radio Journal , nos. / (): –.
. María Elena Cepeda and Dolores Inés Casillas, The Routledge Companion to
Latina/o Media (New York: Routledge, ). See also Dolores Inés Casillas, Sounds of
Belonging: U.S. Spanish-Language Radio and Public Advocacy (New York: New York
University Press, ).
. Barbara Dianne Savage, Broadcasting Freedom: Radio, War, and the Politics of Race,
– (Chapel Hill: University of North Carolina Press, ).
Martin | Radio
177
. Kathy M. Newman, “The Forgotten Fifteen Million: Black Radio, the ‘Negro
Market’ and the Civil Rights Movement,” Radical History Review (): –.
. Susan J. Douglas, Inventing American Broadcasting, – (Baltimore: Johns
Hopkins University Press, ), .
. Donna L. Halper, Invisible Stars: A Social History of Women in American
Broadcasting (Armonk, NY: M. E. Sharpe, ).
. Cynthia B. Meyers, A Word from Our Sponsor: Admen, Advertising, and the Golden
Age of Radio (New York: Fordham University Press, ).
. Amanda Keeler, “‘A Certain Stigma’ of Educational Radio: Judith Waller and
‘Public Service’ Broadcasting,” Critical Studies in Media Communication , no.
(): –.
. Kate Lacey, Feminine Frequencies: Gender, German Radio, and the Public Sphere
– (Ann Arbor: University of Michigan Press, ).
. Christine Ehrick, Radio and the Gendered Soundscape: Women and Broadcasting in
Argentina and Uruguay, – (New York: Cambridge University Press, ). See
also Christine Ehrick, “Nené Cascallar’s Thirsty Heart: Gender, Voice, and Desire in a
s Argentine Radio Serial,” Feminist Media Histories , no. (): –.
. Caroline Mitchell, ed., Women and Radio: Airing Differences (New York:
Routledge, ); Caroline Mitchell, “Re-Sounding Feminist Radio: A Journey through
Women’s Community Radio Archives,” Feminist Media Histories , no. (October ,
): –; Nazan Haydari, “Sabun Köpüğü: Popular Culture, the Everyday, and
Representation of Feminist Politics through Radio in Turkey,” Feminist Media Histories
, no. (): –; Julie Posetti, “Unveiling Radio Coverage of Muslim Women,”
Radio Journal , no. ().
. Michele Hilmes, Hollywood and Broadcasting: From Radio to Cable (Chicago:
University of Illinois Press, ).
. Radio Journal’s April special issue on podcasting addresses many industrial
and generic issues, but none of the articles centers gender’s role in male-dominated
podcasting networks like Maximum Fun.
178
FEMINIST MEDIA HISTORIES
SPRING 2018
Radio
KEYWORDS comedy, gender, race, radio, sexuality
Radio studies is an inherently feminist endeavor. Radio was long considered too
commercial, too personal, too crowded with pop music, too frivolous, too . . .
feminine to be taken very seriously either in academia or in the culture at large.
My own introductions to radio studies and feminist radio studies were one and
the same. Even before returning to graduate school, I happened upon Michele
Hilmes’s landmark study Radio Voices through the serendipity of an
Amazon search. As others have noted before me, Hilmes masterfully mixes industrial and cultural history, with a heavy emphasis on gender. In her fifth chapter, “The Disembodied Woman,” she argues that gender is a “central conflict”
and formative influence in the evolution of American radio.1 Feminist radio
scholars are still answering her call to tease out the complex relationships between the women who have historically composed the majority of radio’s listeners and the medium’s broadcasters—a historically (but not exclusively) masculine
group of producers, writers, advertisers, and radio station owners.
Radio studies incorporates cultural studies, gender studies, and the aesthetic
tool kit it shares with film and literary studies. Indeed, feminists’ emphasis on
the importance of female-centric popular media helped make broadcasting an
acceptable academic focus.2 An intrinsically intertextual approach for an intertextual medium, scholarship on radio overlaps many other branches of media
inquiry, especially television. However, it is important to understand radio as its
own medium. Radio preceded television by some three decades, and many of
its industrial and aesthetic characteristics shaped its younger broadcast sibling’s
development. Radio continued to exist beyond its so-called Golden Age (generally agreed to span from the s to the early s), when the last American
network radio dramas made the leap to television in the early s. Radio
remains a vibrant, international site of public debate, cultural exchange, and
Feminist Media Histories, Vol. , Number , pps. –. electronic ISSN -. © by the Regents
of the University of California. All rights reserved. Please direct all requests for permission to photocopy
or reproduce article content through the University of California Press’s Reprints and Permissions web page,
http://www.ucpress.edu/journals.php?p=reprints. DOI: https://doi.org/./fmh.....
173
communication. Thus, scholars must continually reconsider what it means to
discuss radio’s audience and its temporality. As the definition of radio expands
to include satellite and web-based broadcasts, as well as podcasting, gendered
program boundaries blur and a wider range of feminist and queer representations find far-flung audiences.3
Early broadcasters courted prestige by distancing themselves from their supposedly lower-class “mass” female audiences—theoretically securely contained in
the daytime hours—and emphasizing their prestigious, masculine-identified
prime-time programming. This attitude dominated early radio histories focusing
on the industry’s development and well-known radio auteurs like Norman
Corwin or Orson Welles.4 Early feminist histories of American radio focused,
naturally enough, on its evolution as a commercial medium. Susan Smulyan’s
Selling Radio () traces broadcasters’ efforts to construct and sell advertisers
a coherent female audience of daytime listeners.5 The study of female-oriented
radio genres began with that most reviled of institutions, the soap opera.
Muriel G. Cantor and Suzanne Pingree in and Robert C. Allen in
were the first to seriously investigate radio soap opera production and poetics.6
Ellen Seiter, Jennifer Hyland Wang, Sarah Murray, and others have continued
this work, highlighting women’s creative roles, American broadcasters’ contentious
relationships with female listeners, efforts to confine women’s programming to
daytime hours, and ways soap operas shaped and challenged conventional gender
norms.7 British scholars like Lyn Thomas continue this analysis into the present
with their work on long-running BBC soaps like The Archers (–present).8
Expanding beyond the stereotypically feminine preserve of daytime, researchers have analyzed the transgressive potential of prime-time female comediennes
like Gracie Allen.9 Allison McCracken, Jennifer Fleeger, and Matthew Murray
explore the ways radio questioned, destabilized, and/or reasserted both female and
male gender and sexual identities in s and s comedy and suspense programming.10 Kathryn Fuller-Seeley’s recent history of Jack Benny’s popular comedy series (–) resurrects the memory of Mary Livingstone, Benny’s chief
stooge, and highlights the moments of sympathy between Mary, Rochester
(Benny’s African American butler), and female listeners.11 My own work focuses
on representations of working women in post–World War II crime and adventure series.12 Eleanor Patterson highlights gender’s continuing salience in collectors’ circulation of residual radio texts.13 Jason Loviglio notes the importance of
female announcers’ voices to NPR’s cultural work.14
More work remains to be done on American radio’s troubled racial history.
María Elena Cepeda and Dolores Inés Casillas’s The Routledge Companion to
174
FEMINIST MEDIA HISTORIES
SPRING 2018
Latina/o Media () collects numerous perspectives on gendered representations and Latina audiences on modern-day US Spanish-language radio.15 In
Broadcasting Freedom () Barbara Savage emphasizes African American
women’s role in World War II–era efforts to improve racial representation.16
Kathy M. Newman highlights advertisers’ halfhearted outreach to African
American audiences as white listeners decamped to television in the s, noting that many commercials were designed to reach affluent white housewives
possibly listening along with their Black domestics.17
As a domestic appliance, radio was a fundamentally feminine medium, but
women are often missing from archival records. Feminist radio studies seeks to
recover the lost stories of women working behind the scenes. In Susan
Douglas’s Inventing American Broadcasting, – began the difficult task
of writing women back into American radio history, noting women like
Nora Stanton Blatch, who helped her husband, Lee de Forest, develop and promote early radio technology.18 Donna Halper’s Invisible Stars () reviews
the broad range of women whose stories have been obscured in broadcast
history.19 Cynthia Meyers’s work on radio advertising foregrounds the roles of
women like Anne Hummert in the advertising industry, especially soap opera
production, beginning in the s and continuing to television.20 Amanda
Keeler recently examined Judith Waller’s s work on NBC’s educational
and public service offerings.21
While American broadcast media tend to take center stage, radio is an international medium. Kate Lacey’s Feminine Frequencies () analyzes how women’s radio programming in Weimar and Nazi Germany promoted feminine
domesticity, foregrounding early female broadcasters like Carola Hersel.22
Christine Ehrick shows how gendered soundscapes interacted with s to
s women’s rights movements in Argentina and Uruguay.23 Other recent
international scholarship scrutinizes female pirate radio operators in Ireland,
representations of lesbian culture and feminist radio collectives on British radio,
feminist radio production in Turkey, and representations of Muslim women on
Australia’s national broadcaster.24
Responding to the paucity of archival documents, especially from non-network
sources, feminist researchers are active in groups like the Radio Preservation Task
Force. A project of the Library of Congress National Recording Preservation Plan,
the RPTF seeks to identify, preserve, and encourage the use of endangered radio
collections. The RPTF’s Gender and Sexuality Caucus is currently working
to connect researchers and teachers with hidden archival gems. The Radio
Scholarly Interest Group within the Society for Cinema and Media Studies is
Martin | Radio
175
another important meeting place for US-based radio academics, and groups like
the UK-based Radio Studies Network hold annual conferences. Feminist radio
work appears consistently in journals like the Historical Journal of Film, Radio,
and Television, the Journal of Radio and Audio Media, and the internationally
focused Radio Journal, though it is not their central focus.
Despite these advances, feminist radio studies still has a niche status in
American universities. Radio researchers are distributed throughout media and
cultural studies disciplines, and radio is too often regarded as an afterthought in
historical and media scholarship, rather than an integral part of the industrial
and ideological media ecosystem.25 Interesting interventions might include analyses of the way radio adaptations and promotions domesticated and feminized
masculine-coded high-culture texts. Scholars focusing on prime-time radio genres and aesthetics still fall into the same gendered taste hierarchies as early
broadcasters and media studies scholarship, prioritizing male auteurs and canonical texts like Welles’s War of the Worlds () over more popular, massaudience texts. This focus ignores gender’s central role in shaping such hierarchies, which are being replicated on new formats like podcasting.26 It further
misses valuable opportunities to analyze the ways women and men might have
interacted with the range of radio messages and ignores the larger feminized
domestic environment in which listeners encountered such programs.
C ATHERINE M ARTIN is a PhD candidate in Boston University’s American and New England Studies
Program. Her dissertation, “You Don’t Have to Be a Bad Girl to Love Crime: Representations of
Women in American Radio and Television Crime Programming, 1945–1978,” analyzes representations of women in radio and television crime programs, with an emphasis on cultural depictions of
women’s labor between World War II and the emergence of second wave feminism. She currently
serves as graduate representative for the Radio Preservation Task Force, and her work has appeared in
the Velvet Light Trap.
NOTES
. Michele Hilmes, Radio Voices: American Broadcasting, – (Minneapolis:
University of Minnesota Press, ), .
. Michele Hilmes, “The Bad Object: Television in the American Academy,” Cinema
Journal , no. (): –.
. See Mél Hogan, “Dykes on Mykes: Podcasting and the Activist Archive,” TOPIA:
Canadian Journal of Cultural Studies (): –; Ragan Fox, “Sober Drag
Queens, Digital Forests, and Bloated ‘Lesbians’: Performing Gay Identities Online,”
Qualitative Inquiry , no. (): –.
. See Erik Barnouw’s three-part A History of Broadcasting in the United States: A
Tower in Babel, vol. , covering to ; The Golden Web, vol. , covering –;
176
FEMINIST MEDIA HISTORIES
SPRING 2018
and The Image Empire, vol. , covering to (New York: Oxford University Press,
, , ).
. Susan Smulyan, Selling Radio: The Commercialization of American Broadcasting,
– (Washington, DC: Smithsonian, ).
. Muriel G. Cantor and Suzanne Pingree, The Soap Opera (Beverly Hills, CA: Sage,
); Robert C. Allen, Speaking of Soap Operas (Chapel Hill: University of North
Carolina Press, ).
. Ellen Seiter, “‘To Teach and To Sell’: Irna Phillips and Her Sponsors, –,”
Journal of Film and Video , no. (): –; Jennifer Hyland Wang, “‘The Case of
the Radio-Active Housewife’: Relocating Radio in the Age of Television,” in Radio
Reader: Essays in the Cultural History of Radio, ed. Michele Hilmes and Jason Loviglio
(New York: Routledge, ), –; Sarah Murray, “The Radio Made Betty: Live
Trademarks, Disembodiment, and the Real,” Feminist Media Histories , no. ():
–; Jennifer Hyland Wang, “Producing a Radio Housewife: Clara, Lu ‘n’ Em,
Gendered Labor, and the Early Days of Radio,” Feminist Media Histories , no.
(): –; Jason Loviglio, Radio’s Intimate Public: Network Broadcasting And MassMediated Democracy (Minneapolis: University of Minnesota Press, ).
. Lyn Thomas, “The Archers: An Everyday Story of Old and New Media,” Radio
Journal , no. (): –.
. Susan J. Douglas, Listening In: Radio and the American Imagination (Minneapolis:
University of Minnesota Press, ).
. Allison McCracken, “Scary Women and Scarred Men: Suspense, Gender Trouble,
and Postwar Change, –,” in Radio Reader, –; Allison McCracken, Real
Men Don’t Sing: Crooning in American Culture (Durham, NC: Duke University Press,
); Jennifer Fleeger, Mismatched Women: The Siren’s Song through the Machine
(New York: Oxford University Press, ); Matthew Murray, “‘The Tendency to
Deprave and Corrupt Morals’: Regulation and Irregular Sexuality in Golden Age Radio
Comedy,” in Radio Reader, –.
. Kathryn H. Fuller-Seeley, Jack Benny and the Golden Age of American Radio
Comedy (Oakland: University of California Press, ), .
. Catherine Martin, “Adventure’s Fun, but Wouldn’t You Rather Get Married?:
Gender Roles and the Office Wife in Radio Detective Dramas,” Velvet Light Trap ,
no. (): –.
. Eleanor Patterson, “Radio Redux: The Persistence of Soundwork in the PostNetwork Era” (PhD diss., University of Wisconsin-Madison, ).
. Jason Loviglio, “Sound Effects: Gender, Voice and the Cultural Work of NPR,”
Radio Journal , nos. / (): –.
. María Elena Cepeda and Dolores Inés Casillas, The Routledge Companion to
Latina/o Media (New York: Routledge, ). See also Dolores Inés Casillas, Sounds of
Belonging: U.S. Spanish-Language Radio and Public Advocacy (New York: New York
University Press, ).
. Barbara Dianne Savage, Broadcasting Freedom: Radio, War, and the Politics of Race,
– (Chapel Hill: University of North Carolina Press, ).
Martin | Radio
177
. Kathy M. Newman, “The Forgotten Fifteen Million: Black Radio, the ‘Negro
Market’ and the Civil Rights Movement,” Radical History Review (): –.
. Susan J. Douglas, Inventing American Broadcasting, – (Baltimore: Johns
Hopkins University Press, ), .
. Donna L. Halper, Invisible Stars: A Social History of Women in American
Broadcasting (Armonk, NY: M. E. Sharpe, ).
. Cynthia B. Meyers, A Word from Our Sponsor: Admen, Advertising, and the Golden
Age of Radio (New York: Fordham University Press, ).
. Amanda Keeler, “‘A Certain Stigma’ of Educational Radio: Judith Waller and
‘Public Service’ Broadcasting,” Critical Studies in Media Communication , no.
(): –.
. Kate Lacey, Feminine Frequencies: Gender, German Radio, and the Public Sphere
– (Ann Arbor: University of Michigan Press, ).
. Christine Ehrick, Radio and the Gendered Soundscape: Women and Broadcasting in
Argentina and Uruguay, – (New York: Cambridge University Press, ). See
also Christine Ehrick, “Nené Cascallar’s Thirsty Heart: Gender, Voice, and Desire in a
s Argentine Radio Serial,” Feminist Media Histories , no. (): –.
. Caroline Mitchell, ed., Women and Radio: Airing Differences (New York:
Routledge, ); Caroline Mitchell, “Re-Sounding Feminist Radio: A Journey through
Women’s Community Radio Archives,” Feminist Media Histories , no. (October ,
): –; Nazan Haydari, “Sabun Köpüğü: Popular Culture, the Everyday, and
Representation of Feminist Politics through Radio in Turkey,” Feminist Media Histories
, no. (): –; Julie Posetti, “Unveiling Radio Coverage of Muslim Women,”
Radio Journal , no. ().
. Michele Hilmes, Hollywood and Broadcasting: From Radio to Cable (Chicago:
University of Illinois Press, ).
. Radio Journal’s April special issue on podcasting addresses many industrial
and generic issues, but none of the articles centers gender’s role in male-dominated
podcasting networks like Maximum Fun.
178
FEMINIST MEDIA HISTORIES
SPRING 2018