This week tune in two Black American radio artists, Ricardo Iamuuri Robinson and Sadie Woods. First, we hear from Robinson, who writes, “BLACKBODY, WHITE NOISE is an experimental radio art composition. For an entire week I have collected sounds using two vacant cast iron cubes and sound reproduction technology. Each structure bears a single hole (a Blackbody) allowing sunlight to penetrate and radiate throughout the interior space. During the course of the residency I have recorded thermal conduction, movement and ambience. I manipulated the collected data to compose a sonic relationship with excerpts from La’Vender Freddy’s Sunscreen Conspiracy project. The title Blackbody White Noise is inspired by Frantz Fanon’s highly acclaimed literary work, “Black Skin, White Mask.” This project has set out to reveal and translate a correlation between the life of the Sun and the struggle against forces determined to destroy it. This meditation will articulate a common narrative of conflict and leave it up to the listeners to reimagine a new future inspired by a new solar language.” The People’s Radio explores radio as a technology developed and pioneered by the U.S. military industrial complex as political warfare and public radio as a conduit for Black expressive culture and radical imagination. This broadcast is created from a variety of sources, including cultural media, ephemeral and symbolic sounds, political speeches like "Power Anywhere Where There’s People" by Fred Hampton, excerpts from Motown’s sister label Black Forum releases like "Black Spirits: Festival of New Black Poets in America," and oral histories propelled through Black music. The People’s Radio emphasizes resistance during times of social unrest in aims to recuperate and make legible repressed histories, reminding us of the political dimensions under the surface of Black life. Then tune in Woods and her "The People’s Radio." The work explores radio as a technology developed and pioneered by the U.S. military industrial complex as political warfare and public radio as a conduit for Black expressive culture and radical imagination. This broadcast is created from a variety of sources, including cultural media, ephemeral and symbolic sounds, political speeches like "Power Anywhere Where There’s People" by Fred Hampton, excerpts from Motown’s sister label Black Forum releases like "Black Spirits: Festival of New Black Poets in America," and oral histories propelled through Black music. The People’s Radio emphasizes resistance during times of social unrest in aims to recuperate and make legible repressed histories, reminding us of the political dimensions under the surface of Black life.

Welcome to "The Radio Art Hour," a show where art is not just on the radio, but is the radio. "The Radio Art Hour" draws from the Wave Farm Broadcast Radio Art Archive, an online resource that aims to identify, coalesce, and celebrate historical and contemporary international radio artworks made by artists around the world, created specifically for terrestrial AM/FM broadcast, whether it be via commercial, public, community, or independent transmission. Come on a journey with us as radio artists explore broadcast radio space through poetic resuscitations and playful celebrations/subversions of the complex relationship between senders and receivers in this hour of radio about radio as an art form. "The Radio Art Hour" features introductions from Philip Grant and Tom Roe, and from Wave Farm Radio Art Fellows Karen Werner and Jess Speer. The Conet Project's recordings of numbers radio stations serve as interstitial sounds. Go to wavefarm.org for more information about "The Radio Art Hour" and Wave Farm's Radio Art Archive.