ABSTRACT
The chapter explores the practice of taping radio shows on cassette as a now largely historical audience practice of producing media objects, capturing time from the broadcast flow, and personal archiving. It begins by considering the materiality of the cassette tape, and the way it changed music production and recording. It explores the relationship between radio, music, memory, and identity, and how all of these elements come together in unofficial archives. It then looks at two examples of radio taping practices: a small study of 1990s taping from RDU the University of Canterbury student radio station in Christchurch, New Zealand, and the documentary Tape Crackers, centred on an extremely dedicated recorder of 90s London pirate radio.
