Artist Sadie Woods created “The People’s Radio” during a 2021 residency at Wave Farm. In this composition, Woods interweaves music samples with recordings of activist oratory in the Black radical tradition – notably, from Black Panther Party organizer Fred Hampton’s 1969 speech “Power Anywhere Where There’s People,” which Hampton delivered just months before the FBI and Chicago Police assassinated him in a pre-dawn raid on his apartment. Woods juxtaposes Motown hits with calls for militant resistance to a white supremacist police state. And through these juxtapositions, the depoliticizing effect on these songs of their long circulation through commercial radio is stripped away, leading us to hear phrases like “power to the people” in a freshly literal sense. Woods means this as an intervention into radio itself, drawing the technology away from its attachments to the U.S. military industrial complex and toward, as she writes, “a conduit for Black expressive culture and radical imagination.”
- Introduced by Wave Farm Radio Artist Fellow 2021/2022, Andy Stuhl.

The Wave Farm Broadcast Radio Art Archive is an online resource and broadcast series on Wave Farm’s WGXC 90.7-FM, which is syndicated to stations across the country through The Radio Art Hour. It aims to identify, coalesce, and celebrate historical and contemporary international radio artworks created specifically for terrestrial AM/FM/Shortwave broadcast, whether it be via commercial, public, community, or pirate transmission. The archive is a product of Wave Farm's Radio Artist Fellowship.

Radio artists explore broadcast radio space through a richly polyphonous mix of practices, including poetic resuscitations of conventional radio drama, documentary, interview and news formats; found and field sound compositions reframed by broadcast; performative inhabitations/embodiments of radio’s inherent qualities, such as entropy, anonymity and interference; playful celebrations/subversions of the complex relationship between senders and receivers, and the potential feedback loops between hosts and layers of audience, from in-studio to listeners at home to callers-in; use of radio space to bridge widely dispersed voices (be they living or dead), subjects, environments and communities, or to migrate through them in ways that would not be possible in real time and space; electroacoustic compositions with sounds primarily derived from gathering, generating and remixing radiophonic sources. Note: Wave Farm continues to expand this definition of radio art through engagement with contemporary practices including those revealed by Wave Farm Artists-in-residence, and the Radio Art Fellowship program.