To ward off the Axis powers during World War II, the British mobilized the cultural and linguistic connections that cut across the “Middle East” and “South Asia” regional boundaries, which they - as colonizers - had imposed. For example, Urdu poet N. M. Rashid worked for Radio Tehran as part of his service in the British Army; the All-India Radio based in Delhi had programs that broadcast news in Arabic and Persian; the War Pictoral News was produced in Arabic and Persian in Cairo for distribution to Allied troops in the Middle East; India Film Units created newsreels to garner support for the Allied forces across West/South Asia. These are just several examples of the interconnected infrastructures of war, radio, news, and entertainment across West/South Asia during World War II. Despite what these connections can tell us about the role of radio, newsreels, and other sound media in reinforcing and subverting political boundaries during the war, regional and national frameworks have overwhelmingly obfuscated these linkages in scholarship and the popular imagination. In this presentation, I consider the circulation of radio broadcasts, newsreels, and the voices of radio announcers as part of a longer history of cinematic and other sonic exchanges in West/South Asia. To tell this history, I demonstrate how what I call “sonic infrastructures” both enabled the movements of sounds across consolidating national and regional borders and reified these borders as well. For this particular chapter within this longer arc of exchange, I develop the concept of jamming to understand specifically how the Axis and Allied powers, as well as of anti-colonial/imperial movements, struggled to define and defy the boundaries of the soundscape of West/South Asia during the war vis-à-vis the radio, newsreels, and propaganda thrillers. I invoke jamming in its common usage as deliberate interference in radio broadcasts, such British attempts to disrupt Radio Free Berlin broadcasts to listeners in West/South Asia. But I also draw on scholar Usha Iyer’s conception of jamming as including improvisation to demonstrate how this subversion occurred in less obvious audible ways.