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This essay traces the growth of the US radio collector community in the 1970s, considering how radio bootlegging reconfigures our understanding of broadcasting as a material object. Situating this formation of a radio audience community during the post-war electronics boom and hi-fidelity movement, I map out the common practices that bootleggers developed distinct to collecting and trading radio, and argue bootlegging as sound duplication became a form of media production. Lastly, I conclude by outlining the various reasons radio collectors of the 1970s found pleasure in radio collecting.