The production of scripted creative radio -- drama, comedy, and variety -- in the United States is usually associated with the classic radio network era, approximately 1927 -- 1962. Most historical narratives maintain that creative radio virtually disappeared in the early 1960s when television emerged to dominate broadcast entertainment, suggesting a natural and seamless transition from radio to television that erased radio as a creative form. This dissertation intervenes in the standard historical narrative by unearthing the buried history of creative radio's survival in U.S. from the 1960s to the present both as material commodity and as a thriving cultural practice. Applying a material culture framework to creative radio's history, supported by original interviews, previously unexplored archival materials, and industry research, I argue that radio's cultural role did not end as the last live transmissions faded, but that creative radio survived in material forms that circulated through communities of radio bootleggers and collectors, as well as through the industrial aftermarkets of syndication and repackaging as recorded commodities. From the Theater 5 and CBS Mystery Theater in the 1960s and '70s, through numerous "old time radio" shows around the country, to repackaged "radio classics," creative radio survived and thrived through the 1980s and 90s. Furthermore, creative radio's continued though marginal circulation played a crucial role in soundwork's revival in the digital era. As I demonstrate, this can be seen clearly in key programs of the current era like A Prairie Home Companion, This American Life and Serial. This dissertation contributes to media history, cultural studies, and sound studies by examining how the industrial practices and cultural understandings of what radio was and could be persisted in the U.S. media landscape from television's heyday to the post-network radio era.