Eusebius of Caesarea was one of the most significant and voluminous contributors to the development of late antique literary culture. Despite his significance, Eusebius has tended to receive attention more as a source for histories of early Christianity and the Constantinian empire than as a writer and thinker in his own right. He was a compiler and copyist of pagan and Christian texts, collator of a massive chronographical work, commentator on scriptural texts, author of apologetic, historical, educational, and biographical works, and custodian of one of the greatest libraries in the ancient world. As such, Eusebius merits a primary place in our appreciation of the literary culture of late antiquity for both his self-conscious conveyance of multiple traditions and his fostering of innovative literary and intellectual trajectories. By focusing on the full range of Eusebius’s literary corpus, the collection of essays in Eusebius of Caesarea offers new and innovative studies that will change the ways classicists, theologians, and ancient historians think about this major figure.

Once a lively presence on radio, jazz now finds itself relegated to satellite broadcasters and low-watt stations at the edge of the dial. Aaron J. Johnson examines jazz radio from the advent of Black radio in 1948 to its near extinction from the commercial dial after 1980. Even in jazz’s heyday, programmers and DJs excluded many styles and artists, and Johnson delves into how the politics of decision-making and the political uses of the medium shaped jazz radio formats. Johnson shows radio’s role in the contradictory perceptions of jazz as American’s model artistic contribution to the world, as Black classical music, and as the soundtrack of African American rebellion and resistance for much of the twentieth century.

An interwoven story of a music and a medium, Jazz Radio America answers perennial questions about why certain kinds of jazz get played and why even that music is played in so few places.