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Over the last 10 years, radio listeners have increasingly begun to tune in online – via podcasts, radio-on-demand and other digital distribution platforms. In the last couple of years, they have begun to interact with radio in theatres, cinemas and assorted make-shift gig venues, via mobile apps and social media platforms, and in the form of live performances, online videos, maps, tweets, blogs, forums, essays, photographs and interactive websites. Radio, like every other medium, is experimenting with ever more complex cross-media practices. These kinds of activities have been analysed at length with regard to commercial film, television and gaming, but much less is understood about radio-born approaches to transmedia content. This article considers how existing transmedia theories can contribute to our understanding of these new radio practices and also how radio-originated cross-media productions might challenge some of the ingrained assumptions we have about transmedia engagement.

"Drawing on dozens of original interviews and close analysis of Australian examples sampled from across 40 years of "indie" music, comedy, film, computer games, and graphic design, Fringe to Famous explores how some of Australia's leading cultural practitioners negotiate their position between the margins and the mainstream in the contemporary period. Fringe to Famous critically re-examines the relations between "independent" and "mainstream" cultural production at a time when the very meaning and relevance of those terms is being widely debated. In recent decades, critically-aware artists and their entrepreneurial business partners have engaged in a playful negotiation of marginal and mainstream tastes, harnessing the values associated with the creative underground-transgression, independence, authenticity-for both aesthetic and commercial ends. At the same time, crises in the business models of commercial media industries and the proliferation of online distribution have made ?mainstream? increasingly difficult to define."--

Cover -- Contents -- Acknowledgements -- Introduction: From art school to beer barn -- 1 Imagining hybridity: A history of the present -- 2 Subverting the high ground: The hybridity of punk and post-punk music in Australia -- 3 Subcultural design: Wearing our art on our sleeve -- 4 From fringe theatre to prime time: The case of comedy -- 5 Alternative visions: The Indigenous wave and Australian independent cinema -- 6 The fringe in Freeplay: The independence of independent games -- Conclusion: Designing osmotic ecologies -- References -- Index.