Podcasts about Ashes to Ashes

Dan starts this week with a very bizarre story. It's hard to even explain but we are off to Finland to review a tale about a sculpture garden. Then we head to Saudi Arabia to explore the lore around Bride of the Red Sea. Lynze really goes for it this week with five stories! They are short and quite varied. Her first two deal with family members sticking around after their deaths in very small, kind but still eery ways. Then, because it's March, she offers us a little Leprechaun tale. Then, we hear a tale of poltergeist activity not surrounding an angsty teen, which feels new. Lastly, a shadow figure that seems to leave behind some lasting effects. March Bad Magic Donation: This month, we are sending $11,800 to The AP. Founded in 1846, The AP continues to provide fact based journalism and remains the the most trusted, the most accurate and the most unbiased news source in all formats of news. More than half of the entire worlds population consumes news provided by AP journalists every day. We are excited to support journalists in 100 countries as they continue to report on the biggest stories that affect us all. To learn more about what The AP does, please visit apnews.com. We are also adding $1,300 to the scholarship fund!Thank you for continuing to send in your stories, Creeps and Peepers!Please keep doing so!!Send them to mystory@scaredtodeathpodcast.comSend everything else to info@scaredtodeathpodcast.comWant to be a Patron? Get episodes AD-FREE, listen and watch before they are released to anyone else, bonus episodes, a 20% merch discount, additional content, and more! Learn more by visiting: https://www.patreon.com/scaredtodeathpodcast.Please rate, review, and subscribe anywhere you listen.Thank you for listening!Follow the show on social media: @scaredtodeathpodcast on Facebook and IG and TTWebsite: https://www.badmagicproductions.com/Facebook: https://www.facebook.com/scaredtodeathpodcastInstagram: https://bit.ly/2miPLf5Mailing Address:Scared to Deathc/o Timesuck PodcastPO Box 3891Coeur d'Alene, ID 83816Opening Sumerian protection spell (adapted):"Whether thou art a ghost that hath come from the earth, or a phantom of night that hath no home… or one that lieth dead in the desert… or a ghost unburied… or a demon or a ghoul… Whatever thou be until thou art removed… thou shalt find here no water to drink… Thou shalt not stretch forth thy hand to our own… Into our house enter thou not. Through our fence, breakthrough thou not… we are protected though we may be frightened. Our life you may not steal, though we may feel SCARED TO DEATH."

Raffe and Alex talk about GCW Ashes To Ashes & So Much Fun, which Alex attended LIVE!On The Road PlaylistPlease send any topic suggestions to @facesfeelscastLISTEN & LINKS HERE: https://linktr.ee/facesfeelscastWatch every Dude, Where's My Ring? Show FOR FREE On YouTube:https://youtube.com/@DWMRPerth?si=MDiTqw8U99PfIzQbFollow on social media: @dwmrperthThis episode & every episode of Faces & Feels is dedicated to the memory of Sean Patrick O'Brien. Thank you for being my friend & believing in me.If you can please help support Sean's family by picking up his merch:https://www.deathmatchworldwide.com/category/sean-patrick-o-brienRIP SPO. #SPOFOREVERSupport this podcast at — https://redcircle.com/hit-the-books-realistic-wwe-fantasy-booking/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Raffe and Alex talk about GCW Ashes To Ashes & So Much Fun, which Alex attended LIVE!On The Road PlaylistPlease send any topic suggestions to @facesfeelscastLISTEN & LINKS HERE: https://linktr.ee/facesfeelscastWatch every Dude, Where's My Ring? Show FOR FREE On YouTube:https://youtube.com/@DWMRPerth?si=MDiTqw8U99PfIzQbFollow on social media: @dwmrperthThis episode & every episode of Faces & Feels is dedicated to the memory of Sean Patrick O'Brien. Thank you for being my friend & believing in me.If you can please help support Sean's family by picking up his merch:https://www.deathmatchworldwide.com/category/sean-patrick-o-brienRIP SPO. #SPOFOREVERSupport this podcast at — https://redcircle.com/faces-and-feels/donations

In the Star Trek: Voyager episode, “Ashes to Ashes,” Ensign Ballard returns to Voyager, and she has changed quite a bit. There's her new life as an alien and the fact that she's not dead - which was precisely how the crew last saw her three years ago. Harry throws caution to the wind and sparks a romatic relationship, but Ballard's new alien "family" may not so easily let her go. "Ashes to Ashes" goes into the Mission Log. Hosted by John Champion and Norman Lao Welcome to Mission Log, a Roddenberry Entertainment podcast, where we explore the Star Trek universe one episode at a time. Each week, Mission Log examines a single episode of Star Trek, diving into its ethical subtext, metaphors, and cultural significance. From the show's most iconic moments to its hidden gems, we analyze what makes Star Trek one of the greatest science fiction sagas of all time. In every episode of Mission Log we… Recap the story and analyze key moments. Discuss the morals, messages, and meanings of the dilemmas presented. Debate whether the episode holds up and if the themes are still relevant. Join the Conversation: For as little as $1 a month, you can gain access to our exclusive Discord Community! There, we continue the discussion with dedicated channels and  weekly video chats with the hosts. Become a member of our Patreon today! https://www.Patreon.com/MissionLog SPECIAL THANKS the supporters of this week's show: Chris Garis, Julie Miller, Stuart, Michael Park, Paul Shadwell, Matt Esposito, Alan Simonis, Mike Richards, David Takechi, Mike Schiable, VADM Erickson, and Lars Seme Thanks to all of our Patreon Supporters https://www.missionlogpodcast.com/sponsors/ Want to share your thoughts on an upcoming episode? Email us at MissionLog@Roddenberry.com for a chance to be featured during the episode. Follow us on Social Media: INSTAGRAM https://www.instagram.com/RoddenberryEntertainment THREADS https://www.threads.net/@roddenberrypodcasts FACEBOOK https://www.facebook.com/MissionLogPod Did you know we're on YouTube? Find the video versions of your favorite shows like Mission Log: Prodigy, The Orville, as well as exclusive content only available on YouTube. Subscribe now:  https://www.youtube.com/@RoddenberryEntertainment?sub_confirmation=1 Our shows are part of the Roddenberry Entertainment family. For more great shows and to learn more about how we live the legacy of Gene Roddenberry, creator of Star Trek, follow us here: RODDENBERRY PODCASTS https://www.instagram.com/roddenberrypodcasts RODDENBERRY ENTERTAINMENT https://www.instagram.com/roddenberryofficial THE RODDENBERRY FOUNDATION https://www.instagram.com/theroddenberryfoundation THIS EPISODE IS SPONSORED BY: Listeners like you - Support Mission Log on Patreon for early access to shows and the Mission Log Discord! Subscribe and Stay Updated: Never miss an episode! Subscribe on your preferred podcast player, leave a review, and join Mission Log on the journey of weekly deep dives into the Star Trek universe. Technical Director - Earl Green Producer - John Champion Associate Producer - Jessica Lynn Verdi Executive Producer - Eugene “Rod” Roddenberry Roddenberry Entertainment | All Rights Reserved

In the Star Trek: Voyager episode, “Ashes to Ashes,” Ensign Ballard returns to Voyager, and she has changed quite a bit. There's her new life as an alien and the fact that she's not dead - which was precisely how the crew last saw her three years ago. Harry throws caution to the wind and sparks a romatic relationship, but Ballard's new alien "family" may not so easily let her go. "Ashes to Ashes" goes into the Mission Log. Hosted by John Champion and Norman Lao Welcome to Mission Log, a Roddenberry Entertainment podcast, where we explore the Star Trek universe one episode at a time. Each week, Mission Log examines a single episode of Star Trek, diving into its ethical subtext, metaphors, and cultural significance. From the show's most iconic moments to its hidden gems, we analyze what makes Star Trek one of the greatest science fiction sagas of all time. In every episode of Mission Log we… Recap the story and analyze key moments. Discuss the morals, messages, and meanings of the dilemmas presented. Debate whether the episode holds up and if the themes are still relevant. Join the Conversation: For as little as $1 a month, you can gain access to our exclusive Discord Community! There, we continue the discussion with dedicated channels and  weekly video chats with the hosts. Become a member of our Patreon today! https://www.Patreon.com/MissionLog SPECIAL THANKS the supporters of this week's show: Chris Garis, Julie Miller, Stuart, Michael Park, Paul Shadwell, Matt Esposito, Alan Simonis, Mike Richards, David Takechi, Mike Schiable, VADM Erickson, and Lars Seme Thanks to all of our Patreon Supporters https://www.missionlogpodcast.com/sponsors/ Want to share your thoughts on an upcoming episode? Email us at MissionLog@Roddenberry.com for a chance to be featured during the episode. Follow us on Social Media: INSTAGRAM https://www.instagram.com/RoddenberryEntertainment THREADS https://www.threads.net/@roddenberrypodcasts FACEBOOK https://www.facebook.com/MissionLogPod Did you know we're on YouTube? Find the video versions of your favorite shows like Mission Log: Prodigy, The Orville, as well as exclusive content only available on YouTube. Subscribe now:  https://www.youtube.com/@RoddenberryEntertainment?sub_confirmation=1 Our shows are part of the Roddenberry Entertainment family. For more great shows and to learn more about how we live the legacy of Gene Roddenberry, creator of Star Trek, follow us here: RODDENBERRY PODCASTS https://www.instagram.com/roddenberrypodcasts RODDENBERRY ENTERTAINMENT https://www.instagram.com/roddenberryofficial THE RODDENBERRY FOUNDATION https://www.instagram.com/theroddenberryfoundation THIS EPISODE IS SPONSORED BY: Listeners like you - Support Mission Log on Patreon for early access to shows and the Mission Log Discord! Subscribe and Stay Updated: Never miss an episode! Subscribe on your preferred podcast player, leave a review, and join Mission Log on the journey of weekly deep dives into the Star Trek universe. Technical Director - Earl Green Producer - John Champion Associate Producer - Jessica Lynn Verdi Executive Producer - Eugene “Rod” Roddenberry Roddenberry Entertainment | All Rights Reserved

In the Star Trek: Voyager episode, “Ashes to Ashes,” Ensign Ballard returns to Voyager, and she has changed quite a bit. There's her new life as an alien and the fact that she's not dead - which was precisely how the crew last saw her three years ago. Harry throws caution to the wind and sparks a romatic relationship, but Ballard's new alien "family" may not so easily let her go. "Ashes to Ashes" goes into the Mission Log. Hosted by John Champion and Norman Lao Welcome to Mission Log, a Roddenberry Entertainment podcast, where we explore the Star Trek universe one episode at a time. Each week, Mission Log examines a single episode of Star Trek, diving into its ethical subtext, metaphors, and cultural significance. From the show's most iconic moments to its hidden gems, we analyze what makes Star Trek one of the greatest science fiction sagas of all time. In every episode of Mission Log we… Recap the story and analyze key moments. Discuss the morals, messages, and meanings of the dilemmas presented. Debate whether the episode holds up and if the themes are still relevant. Join the Conversation: For as little as $1 a month, you can gain access to our exclusive Discord Community! There, we continue the discussion with dedicated channels and  weekly video chats with the hosts. Become a member of our Patreon today! https://www.Patreon.com/MissionLog SPECIAL THANKS the supporters of this week's show: Chris Garis, Julie Miller, Stuart, Michael Park, Paul Shadwell, Matt Esposito, Alan Simonis, Mike Richards, David Takechi, Mike Schiable, VADM Erickson, and Lars Seme Thanks to all of our Patreon Supporters https://www.missionlogpodcast.com/sponsors/ Want to share your thoughts on an upcoming episode? Email us at MissionLog@Roddenberry.com for a chance to be featured during the episode. Follow us on Social Media: INSTAGRAM https://www.instagram.com/RoddenberryEntertainment THREADS https://www.threads.net/@roddenberrypodcasts FACEBOOK https://www.facebook.com/MissionLogPod Did you know we're on YouTube? Find the video versions of your favorite shows like Mission Log: Prodigy, The Orville, as well as exclusive content only available on YouTube. Subscribe now:  https://www.youtube.com/@RoddenberryEntertainment?sub_confirmation=1 Our shows are part of the Roddenberry Entertainment family. For more great shows and to learn more about how we live the legacy of Gene Roddenberry, creator of Star Trek, follow us here: RODDENBERRY PODCASTS https://www.instagram.com/roddenberrypodcasts RODDENBERRY ENTERTAINMENT https://www.instagram.com/roddenberryofficial THE RODDENBERRY FOUNDATION https://www.instagram.com/theroddenberryfoundation THIS EPISODE IS SPONSORED BY: Listeners like you - Support Mission Log on Patreon for early access to shows and the Mission Log Discord! Subscribe and Stay Updated: Never miss an episode! Subscribe on your preferred podcast player, leave a review, and join Mission Log on the journey of weekly deep dives into the Star Trek universe. Technical Director - Earl Green Producer - John Champion Associate Producer - Jessica Lynn Verdi Executive Producer - Eugene “Rod” Roddenberry Roddenberry Entertainment | All Rights Reserved

On tonight's episode John and B are joined by our East Coast Correspondent Frank who was at both shows to help us with the review.#GCW #GameChangerWrestling #GameChangerWeekly #IndependentWrestling #IndieWrestling #ProWrestling #CelebrateProWrestling #GCWHonest #GCWAshes #GCWFun Go to eatshroombar.com & use code Bodyslam at checkout for 25% off your first order.

Deacon Steve Greco is a permanent deacon of the Diocese of Orange. He is founder of Spirit Filled Hearts Ministry, director of evangelization and formation for the Diocese of Orange and host of Empowered by the Spirit.  Katie Hughes of Spirit Filled Hearts Ministry is his co-host.  Their guest is Gary Gordon.  They discuss Lent.Empowered by the Spirit airs live weekdays at 10:00am and Fridays at 5pm Pacific Time go to https://www.spiritfilledevents.com/empowered-by-the-spirit website or download our Spirit Filled Radio App for Android or Apple Devices.APPLE LINK FOR APPGOOGLE PLAY LINK FOR APPArchives of shows from Spirit Filled Radio are available on podcast at https://www.spiritfilledevents.com/empowered-by-the-spirit

We live in a culture that is obsessed with moving up and to the right. As the season of Lent begins we pause to remember that from the dust we have come and to the dust we shall return. There is no escaping death. The smearing of ashes on our foreheads reminds us of this sobering reality. At the same time, the sign of the ash cross that marks our foreheads also invites us to long for and hope for the day when Jesus will return to make all things new. But til that day we are called to prepare ourselves as we faithfully follow Jesus in life and death.Genesis 3:19By the sweat of your face    you shall eat bread,till you return to the ground,    for out of it you were taken;for you are dust,    and to dust you shall return.”Joel 2:12-19“Yet even now,” declares the Lord,    “return to me with all your heart,with fasting, with weeping, and with mourning;    and rend your hearts and not your garments.”Return to the Lord your God,    for he is gracious and merciful,slow to anger, and abounding in steadfast love;    and he relents over disaster.Who knows whether he will not turn and relent,    and leave a blessing behind him,a grain offering and a drink offering    for the Lord your God?Blow the trumpet in Zion;    consecrate a fast;call a solemn assembly;    gather the people.Consecrate the congregation;    assemble the elders;gather the children,    even nursing infants.Let the bridegroom leave his room,    and the bride her chamber.Between the vestibule and the altar    let the priests, the ministers of the Lord, weepand say, “Spare your people, O Lord,    and make not your heritage a reproach,    a byword among the nations.Why should they say among the peoples,    ‘Where is their God?'”Then the Lord became jealous for his land    and had pity on his people.The Lord answered and said to his people,“Behold, I am sending to you    grain, wine, and oil,    and you will be satisfied;and I will no more make you    a reproach among the nations.Luke 4:16-21And he came to Nazareth, where he had been brought up. And as was his custom, he went to the synagogue on the Sabbath day, and he stood up to read. And the scroll of the prophet Isaiah was given to him. He unrolled the scroll and found the place where it was written,“The Spirit of the Lord is upon me,    because he has anointed me    to proclaim good news to the poor.He has sent me to proclaim liberty to the captives    and recovering of sight to the blind,    to set at liberty those who are oppressed,to proclaim the year of the Lord's favor.”And he rolled up the scroll and gave it back to the attendant and sat down. And the eyes of all in the synagogue were fixed on him. And he began to say to them, “Today this Scripture has been fulfilled in your hearing.”

Pastor Steven preaches from Psalm 51Let us know you heard the message. Send us a text!Welcome to Pastor Steven G. Lightfoot's Podcast. Sermons and homilies by Rev. Steven G. Lightfoot. Pastor Steven is an ordained elder in the Global Methodist Church and serves as Senior Pastor to First Methodist Church Splendora and Shepherd Methodist Church in Southeast Texas. Thanks for listening! Join us each week for a new message. May God bless you and keep you.

Check out our new book "She Prays Like a Girl" at PrayingChristianWomen.com/likeagirl today! Join us for short, daily Lenten meditations to help you draw closer to God in prayer and scripture reading as we prepare our hearts leading up to Resurrection Sunday!If you haven't committed your life to Jesus but have a desire to do so, a great resource is the Navigators' "Bridge to Life" illustration. Find it here: https://www.navigators.org/resource/the-bridge-to-life/

Rachel's favorite indestructible kitchenware! Griffin's favorite interface-themed game genre!Music: “Money Won't Pay” by bo en and Augustus – https://open.spotify.com/album/7n6zRzTrGPIHt0kRvmWoyaPalestine Children's Relief Fund: https://www.pcrf.net/

Janelle is getting back at her boyfriend Craig after he knocked over and broke a very important item. Follow us on socials! @themorningmess

Send us a textCults!  It's not the first time we've covered it, and I promise you, it won't be the last.  Join Birdman and myself as we discuss what kind of body hair you need to summon pumpkinhead, and how moving to Sweeden is all around great, but also, the flag is a big plus.  So grab your white linnens and quit having sex with that gourde, because it's time for another extra oily episode of It's Just 2 Movies!If you love this, our Patreon gets these episodes 2 weeks early and episodes of Black Label a month early.  Get early access to everything we make for 4 bucks.  You give the homeless dude at the intersection more than that.  I've seen you.It's Just 2 Movies is part of the Manic Compression Group!  Have a podcast and want to join?  See what we're about here.It's Just 2 Movies is brought to you by 3AM Sweets!  Check out their packaged snackage for your next movie binge at 3amsweets.com!  Promo Code: cumjoke for one time 25% off your total order.Contact the show via email at:   itsjust2movies@gmail.comFacebook, TikTok, Twitter, Instagram, Letterboxd and the like  @itsjust2moviesDon't forget to subscribe on YouTube!Need  to buy some stuff on Amazon?  Visit our Amazon affiliate link to do  your shopping and it helps the show financially!  Wow!  Amazing! As Amazon associates we earn from qualifying purchases  Tropic Thunder, for instance! Want to support the show more directly and chuck in a buck?  Buy Me a Coffee Don't use Spotify, Apple Podcasts, or any of those other platforms?  The show is always free on our website.   :) **SPECIAL THANKS TO THESE FOLKS WHO CONTRIBUTE TO THIS DUMB SHOW**Russ Tafari.  @russ_tafari  and check out Russ Tafari Music Lamplighter Productions.     @lamplighter_productions_il Brad Sexton for our tunes.  Check out SUNDS Mad thanks to Dave, @wheep3d our video editor.  Check out our YouTube!Support the show

This has been a collaborative production with Morbid Forest and Audistorium Podcast Episode 11, Season 5: Ashes to Ashes Trigger Warnings: Heavy tension, gore Author: Naomi Richards Story Editing and Audio Production: Landon ‘Lemon' Whisnant Theme Music for the Morbid Forest is “The Shadows” by Nandi Bushell  Featured Talent:  Narrator: Naomi Richards Grandpa: Bill Symons  If you love this amazing sound design, head over to Audistorium for more amazing feats of sound ingenuity. We promise you won't be disappointed.  Audistorium's Media Links: https://linktr.ee/audistorium The Finder's Keeper: https://www.stygiancatalyst.com/thefinderskeeper https://www.stygiancatalyst.com/ Click here for their Patreon! You can also find it at Patreon.com/Audistorium or you can support the show by leaving them a rating, and we also have a Ko-fi under https://ko-fi.com/audistorium should you be interested in donating anything to the production.   Don't forget our Halloween series- Inkwell Haven- is still going strong through the month of October! Make sure you are checking our socials for clues on where the next stop will be and which podcast is hosting it.    Follow us on Twitter (X), Instagram, and Discord to stay up to date on all happenings within the forest: https://linktr.ee/themorbidforest   Interested in more morsels of the Forest? Then join our patreon! As a faithful Traveler, you'll receive exclusive access to ad-free early episode releases, and bonus content for only $3 a month! https://www.patreon.com/themorbidforest.   See you next time, Travelers! 

When the outspoken and rebellious Pietersen becomes England captain, surely nothing can go wrong? Tensions rise, culminating in an infamous text scandal that threatens to end KP's international career. Meanwhile, Elis displays an uncanny level of knowledge about 1987 – RoboCop, Michael Fish, England winning the Ashes down under – it was a big year.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This is a crossover between the I Seduce The Dragon and Dumbgeons & Dragons podcast! Our very own Amy More and Carla Maxted join Dana Scarborough and Jess Parks to play a horror movie scenario that's bizarre, deadly, and fiendishly fun.  The players may have never heard of the TikTok sensation, The Dirt Man, but they're about to get very familiar when he unexpectedly comes to town… Content warning: violence and plenty of profanity Check out I SEDUCE THE DRAGON: Website: https://www.istdpod.com/ Patreon: https://www.patreon.com/ISeduceTheDragon/posts Instagram: https://www.instagram.com/istdpod/ Email us: iseducethedragonpod@gmail.com Cast: Maddie/Sarah played by Carla Maxted Seraphina/Thaddeus played by Amy More Shannon/Greg played by Dana Scarborough  The GM is Jess Parks Story based on the “Dead Channel” one shot by Grant Howitt: https://gshowitt.itch.io/dead-channel The Dirt Man character created by Carter Vail Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a crossover between the I Seduce The Dragon and Dumbgeons & Dragons podcast! Our very own Amy More and Carla Maxted join Dana Scarborough and Jess Parks to play a horror movie scenario that's bizarre, deadly, and fiendishly fun. The players may have never heard of the TikTok sensation, The Dirt Man, but they're about to get very familiar when he unexpectedly comes to town…Content warning: violence and plenty of profanityCheck out I SEDUCE THE DRAGON:Website: https://www.istdpod.com/Patreon: https://www.patreon.com/ISeduceTheDragon/postsInstagram: https://www.instagram.com/istdpod/Email us: iseducethedragonpod@gmail.comCast:Maddie/Sarah played by Carla MaxtedSeraphina/Thaddeus played by Amy MoreShannon/Greg played by Dana Scarborough The GM is Jess ParksStory based on the “Dead Channel” one shot by Grant Howitt:https://gshowitt.itch.io/dead-channelThe Dirt Man character created by Carter VailSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's the terrifying conclusion to the crossover between two D&D podcasts!. Will the couples survive the nightmare, or will they be buried under the weight of their unresolved issues… and dirt? Content warning: violence and plenty of profanity Check out DUMBGEONS & DRAGONS: ·     Website Check out I SEDUCE THE DRAGON: Website Patreon Instagram Email us: iseducethedragonpod@gmail.com Cast: Maddie/Sarah played by Carla Maxted Seraphina/Thaddeus played by Amy More Shannon/Greg played by Dana Scarborough  The GM is Jess Parks Story based on the “Dead Channel” one shot by Grant Howitt: The Dirt Man character created by Carter Vail

Info about the Live Watch (video!) with both podcast crews HERE _______________ This is a crossover with the Dumbgeons & Dragons podcast! Amy More and Carla Maxted join Dana and Jess to play a horror movie scenario that's bizarre, deadly, and fiendishly fun.  Our players may have never heard of the TikTok sensation, The Dirt Man, but they're about to get very familiar when he unexpectedly comes to town… Content warning: violence and plenty of profanity Check out DUMBGEONS & DRAGONS: Website Check out I SEDUCE THE DRAGON: Website Patreon Instagram Email us: iseducethedragonpod@gmail.com Cast: Maddie/Sarah played by Carla Maxted Seraphina/Thaddeus played by Amy More Shannon/Greg played by Dana Scarborough  The GM is Jess Parks Story based on the “Dead Channel” one shot by Grant Howitt: https://gshowitt.itch.io/dead-channel The Dirt Man character created by Carter Vail

The Big Gold Belt Podcast is back with a red hot episode including: -Hangman burns down Swerve's house -What's hot at AEW All Out -Highlights from WWE Bash In Berlin & NXT No Mercy & MORE! Tags #BigGoldBeltMedia #BigGoldBelt #Podcast Thank you for watching our videos here at BGB Media! If you liked the video be sure to Like Comment and Share! Also be sure to click that Notification bell for all the latest channel updates! * Be sure to visit us at our website - biggoldbelt.com for additional news and updates Big Gold Belt Media twitter.com/BigGoldBelt www.facebook.com/BigGoldBelt/ www.instagram.com/biggoldbelt/ www.biggoldbelt.com

Coal once powered the Industrial Revolution and made Britain the richest country on earth. Now with the closure of the country's last coal-fired power station, it will cease to play any meaningful part in the economic life of the nation. Aside from welcoming a cleaner, greener future, what are we to make of this momentous departure? Together with Ewan Gibbs from Glasgow University, Neil and Jonathan look at the epic decline and fall of King Coal. Presented by Jonathan Ford and Neil Collins.With Ewan Gibbs.Produced and edited by Nick Hilton for Podot.In association with Briefcase.News Hosted on Acast. See acast.com/privacy for more information.

This week on the blog, a podcast interview with playwright and screenwriter Jeffrey Hatcher on Columbo, Sherlock Holmes, favorite mysteries and more!LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Jeffrey Hatcher Facebook Page: https://www.facebook.com/jeffrey.hatcher.3/The Good Liar (Trailer): https://youtu.be/ljKzFGpPHhwMr. Holmes (Trailer): https://youtu.be/0G1lIBgk4PAStage Beauty (Trailer): https://youtu.be/-uc6xEBfdD0Columbo Clips from “Ashes to Ashes”Clip One: https://youtu.be/OCKECiaFsMQClip Two: https://youtu.be/BbO9SDz9FEcClip Three: https://youtu.be/GlNDAVAwMCIEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: Can you remember your very first mystery, a movie, book, TV show, play, a mystery that really captured your imagination? Jeffrey: You know, I was thinking about this, and what came to mind was a Disney movie called Emile and the Detectives from 1964. So, I would have been six or seven years old. It's based on a series of German books by Eric Kastner about a young man named Emile and his group of friends who think of themselves as detectives. So, I remember that—I know that might've been the first film. And obviously it's not a play because, you know, little kids don't tend to go to stage thrillers or mysteries and, “Daddy, please take me to Sleuth.But there was a show called Burke's Law that I really loved. Gene Barry played Captain Amos Burke of the Homicide Division in Los Angeles, and he was very rich. That was the bit. The bit was that Captain Burke drove around in a gorgeous Rolls Royce Silver Ghost, and he had a chauffeur. And every mystery was structured classically as a whodunit.In fact, I think every title of every episode was “Who Killed Cock Robin?” “Who Killed Johnny Friendly?” that kind of thing. And they would have a cast of well-known Hollywood actors, so they were all of equal status. Because I always think that's one of the easiest ways to guess the killer is if it's like: Unknown Guy, Unknown Guy, Derek Jacobi, Unknown Guy, Unknown Guy. It's always going to be Derek Jacobi. John: Yeah, it's true. I remember that show. He was really cool. Jim: Well, now I'm going to have to look that up.Jeffrey: It had a great score, and he would gather all of the suspects, you know, at the end of the thing. I think my favorite was when he caught Paul Lynde as a murderer. And, of course, Paul Lynde, you know, kept it very low key when he was dragged off. He did his Alice Ghostly impersonation as he was taken away.John: They did have very similar vocal patterns, those two.Jeffrey: Yep. They're kind of the exact same person. Jim: I never saw them together. John: You might have on Bewitched. Jim: You're probably right.Jeffrey: Well, I might be wrong about this, either Alice Ghostly or Charlotte Ray went to school with Paul Lynde. And Charlotte Ray has that same sound too. You know, kind of warbly thing. Yes. I think they all went to Northwestern in the late 40s and early 50s. So maybe that was a way that they taught actors back then. John: They learned it all from Marion Horne, who had the very same warble in her voice. So, as you got a little older, were there other mysteries that you were attracted to?Jeffrey: Yeah. Luckily, my parents were very liberal about letting me see things that other people probably shouldn't have. I remember late in elementary school, fifth grade or so, I was reading Casino Royale. And one of the teachers said, “Well, you know, most kids, we wouldn't want to have read this, but it's okay if you do.”And I thought, what's that? And I'm so not dangerous; other kids are, well they would be affected oddly by James Bond? But yeah, I, I love spy stuff. You know, The Man from Uncle and The Wild Wild West, all those kind of things. I love James Bond. And very quickly I started reading the major mysteries. I think probably the first big book that I remember, the first novel, was The Hound of the Baskervilles. That's probably an entrance point for a lot of kids. So that's what comes in mind immediately. Jim: I certainly revisit that on—if not yearly basis, at least every few years I will reread The Hound of the Baskervilles. Love that story. That's good. Do you have, Jeffrey, favorite mystery fiction writers?Jeffrey: Oh, sure. But none of them are, you know, bizarre Japanese, Santa Domingo kind of writers that people always pull out of their back pockets to prove how cool they are. I mean, they're the usual suspects. Conan Doyle and Christie and Chandler and Hammett, you know, all of those. John Dickson Carr, all the locked room mysteries, that kind of thing. I can't say that I go very far off in one direction or another to pick up somebody who's completely bizarre. But if you go all the way back, I love reading Wilkie Collins.I've adapted at least one Wilkie Collins, and they read beautifully. You know, terrifically put together, and they've got a lot of blood and thunder to them. I think he called them sensation novels as opposed to mysteries, but they always have some mystery element. And he was, you know, a close friend of Charles Dickens and Dickens said that there were some things that Collins taught him about construction. In those days, they would write their novels in installments for magazines. So, you know, the desire or the need, frankly, to create a cliffhanger at the end of every episode or every chapter seems to have been born then from a capitalist instinct. John: Jeff, I know you studied acting. What inspired the move into playwriting?Jeffrey: I don't think I was a very good actor. I was the kind of actor who always played older, middle aged or older characters in college and high school, like Judge Brack in Hedda Gabler, those kind of people. My dream back in those days was to play Dr. Dysart in Equus and Andrew Wyke in Sleuth. So, I mean, that was my target. And then I moved to New York, and I auditioned for things and casting directors would say, “Well, you know, we actually do have 50 year old actors in New York and we don't need to put white gunk in their hair or anything like that. So, why don't you play your own age, 22 or 23?” And I was not very good at playing 22 or 23. But I'd always done some writing, and a friend of mine, Graham Slayton, who was out at the Playwrights Center here, and we'd gone to college together. He encouraged me to write a play, you know, write one act, and then write a full length. So, I always say this, I think most people go into the theater to be an actor, you know, probably 98%, and then bit by bit, we, you know, we peel off. We either leave the profession completely or we become directors, designers, writers, what have you. So, I don't think it's unnatural what I did. It's very rare to be like a Tom Stoppard who never wanted to act. It's a lot more normal to find the Harold Pinter who, you know, acted a lot in regional theaters in England before he wrote The Caretaker.Jim: Fascinating. Can we talk about Columbo?Jeffrey: Oh, yes, please. Jim: This is where I am so tickled pink for this conversation, because I was a huge and am a huge Peter Falk Columbo fan. I went back and watched the episode Ashes To Ashes, with Patrick McGowan that you created. Tell us how that came about. Jeffrey: I too was a huge fan of Columbo in the 70s. I remember for most of its run, it was on Sunday nights. It was part of that murder mystery wheel with things like Hec Ramsey and McCloud, right? But Columbo was the best of those, obviously. Everything, from the structure—the inverted mystery—to thw guest star of the week. Sometimes it was somebody very big and exciting, like Donald Pleasence or Ruth Gordon, but often it was slightly TV stars on the skids.John: Jack Cassidy, Jim: I was just going to say Jack Cassidy.Jeffrey: But at any rate, yeah, I loved it. I loved it. I remembered in high school, a friend and I doing a parody of Columbo where he played Columbo and I played the murderer of the week. And so many years later, when they rebooted the show in the nineties, my father died and I spent a lot of time at the funeral home with the funeral director. And having nothing to say to the funeral director one day, I said, “Have you got the good stories?”And he told me all these great stories about, you know, bodies that weren't really in the casket and what you can't cremate, et cetera. So, I suddenly had this idea of a Hollywood funeral director to the stars. And, via my agent, I knew Dan Luria, the actor. He's a close friend or was a close friend of Peter's. And so, he was able to take this one-page idea and show it to Peter. And then, one day, I get a phone call and it's, “Uh, hello Jeff, this is Peter Falk calling. I want to talk to you about your idea.” And they flew me out there. It was great fun, because Falk really ran the show. He was the executive producer at that point. He always kind of ran the show. I think he only wrote one episode, the one with Faye Dunaway, but he liked the idea.I spent a lot of time with him, I'd go to his house where he would do his drawings back in the studio and all that. But what he said he liked about it was he liked a new setting, they always liked a murderer and a setting that was special, with clues that are connected to, say, the murderer's profession. So, the Donald Pleasant one about the wine connoisseur and all the clues are about wine. Or the Dick Van Dyke one, where he's a photographer and most of the clues are about photography. So, he really liked that. And he said, “You gotta have that first clue and you gotta have the pop at the end.”So, and we worked on the treatment and then I wrote the screenplay. And then he asked McGoohan if he would do it, and McGoohan said, “Well, if I can direct it too.” And, you know, I've adored McGoohan from, you know, Secret Agent and The Prisoner. I mean, I'd say The Prisoner is like one of my favorite television shows ever. So, the idea that the two of them were going to work together on that script was just, you know, it was incredible. John: Were you able to be there during production at all? Jeffrey: No, I went out there about four times to write, because it took like a year or so. It was a kind of laborious process with ABC and all that, but I didn't go out during the shooting.Occasionally, this was, you know, the days of faxes, I'd get a phone call: “Can you redo something here?” And then I'd fax it out. So, I never met McGoohan. I would only fax with him. But they built this whole Hollywood crematorium thing on the set. And Falk was saying at one point, “I'm getting pushback from Universal that we've got to do all this stuff. We've got to build everything.” And I was saying, “Well, you know, 60 percent of the script takes place there. If you're going to try to find a funeral home like it, you're going to have all that hassle.” And eventually they made the point that, yeah, to build this is going to cost less than searching around Hollywood for the right crematorium, And it had a great cast, you know, it had Richard Libertini and Sally Kellerman, and Rue McClanahan was our murder victim.Jim: I'll tell you every scene that Peter Falk and Mr. McGoohan had together. They looked to me as an actor, like they were having a blast being on together. Jeffrey: They really loved each other. They first met when McGoohan did that episode, By Dawn's Early Light, where he played the head of the military school. It's a terrific episode. It was a great performance. And although their acting styles are completely different, You know, Falk much more, you know, fifties, methody, shambolic. And McGoohan very, you know, his voice cracking, you know, and very affected and brittle. But they really loved each other and they liked to throw each other curveballs.There are things in the, in the show that are ad libs that they throw. There's one bit, I think it's hilarious. It's when Columbo tells the murderer that basically knows he did it, but he doesn't have a way to nail him. And, McGoohan is saying, “So then I suppose you have no case, do you?” And Falk says, “Ah, no, sir, I don't.” And he walks right off camera, you know, like down a hallway. And McGoohan stares off and says, “Have you gone?” And none of that was scripted. Peter just walks off set. And if you watch the episode, they had to dub in McGoohan saying, “Have you gone,” because the crew was laughing at the fact that Peter just strolled away. So McGoohan adlibs that and then they had to cover it later to make sure the sound wasn't screwed up. Jim: Fantastic. John: Kudos to you for that script, because every piece is there. Every clue is there. Everything pays off. It's just it is so tight, and it has that pop at the end that he wanted. It's really an excellent, excellent mystery.Jim: And a terrific closing line. Terrific closing line. Jeffrey: Yeah, that I did right. That was not an ad lib. Jim: It's a fantastic moment. And he, Peter Falk, looks just almost right at the camera and delivers that line as if it's, Hey, check this line out. It was great. Enjoyed every minute of it. Can we, um, can I ask some questions about Sherlock Holmes now?Jeffrey: Oh, yes. Jim: So, I enjoyed immensely Holmes and Watson that I saw a couple summers ago at Park Square. I was completely riveted and had no, absolutely no idea how it was going to pay off or who was who or what. And when it became clear, it was so much fun for me as an audience member. So I know that you have done a number of Holmes adaptations.There's Larry Millet, a St. Paul writer here and I know you adapted him, but as far as I can tell this one, pillar to post was all you. This wasn't an adaptation. You created this out of whole cloth. Am I right on that? Jeffrey: Yes. The, the idea came from doing the Larry Millet one, actually, because Steve Hendrickson was playing Holmes. And on opening night—the day of opening night—he had an aortic aneurysm, which they had to repair. And so, he wasn't able to do the show. And Peter Moore, the director, he went in and played Holmes for a couple of performances. And then I played Holmes for like three performances until Steve could get back. But in the interim, we've sat around saying, “All right, who can we get to play the role for like a week?” And we thought about all of the usual suspects, by which I mean, tall, ascetic looking actors. And everybody was booked, everybody was busy. Nobody could do it. So that's why Peter did it, and then I did it.But it struck me in thinking about casting Holmes, that there are a bunch of actors that you would say, you are a Holmes type. You are Sherlock Holmes. And it suddenly struck me, okay, back in the day, if Holmes were real, if he died—if he'd gone over to the falls of Reichenbach—people probably showed up and say, “Well, I'm Sherlock Holmes.”So, I thought, well, let's take that idea of casting Holmes to its logical conclusion: That a couple of people would come forward and say, “I'm Sherlock Holmes,” and then we'd wrap it together into another mystery. And we're sitting around—Bob Davis was playing Watson. And I said, “So, maybe, they're all in a hospital and Watson has to come to figure out which is which. And Bob said, “Oh, of course, Watson's gonna know which one is Holmes.”And that's what immediately gave me the idea for the twist at the end, why Watson wouldn't know which one was Holmes. So, I'm very grateful whenever an idea comes quickly like that, but it depends on Steve getting sick usually. Jim: Well, I thoroughly enjoyed it. If it's ever staged again anywhere, I will go. There was so much lovely about that show, just in terms of it being a mystery. And I'm a huge Sherlock Holmes fan. I don't want to give too much away in case people are seeing this at some point, but when it starts to be revealed—when Pierce's character starts talking about the reviews that he got in, in the West End—I I almost wet myself with laughter. It was so perfectly delivered and well written. I had just a great time at the theater that night. Jeffrey: It's one of those things where, well, you know how it is. You get an idea for something, and you pray to God that nobody else has done it. And I couldn't think of anybody having done this bit. I mean, some people have joked and said, it's kind of To Tell the Truth, isn't it? Because you have three people who come on and say, “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” “I'm Sherlock Holmes.” Now surely somebody has done this before, but Nobody had. Jim: Well, it's wonderful. John: It's all in the timing. So, what is the, what's the hardest part about adapting Holmes to this stage?Jeffrey: Well, I suppose from a purist point of view‑by which I mean people like the Baker Street Irregulars and other organizations like that, the Norwegian Explorers here in Minnesota‑is can you fit your own‑they always call them pastiches, even if they're not comic‑can you fit your own Holmes pastiche into the canon?People spend a lot of time working out exactly where Holmes and Watson were on any given day between 1878 and 1930. So, one of the nice things about Holmes and Watson was, okay, so we're going to make it take place during the three-year interregnum when Holmes is pretending to be dead. And it works if you fit Holmes and Watson in between The Final Problem and The Adventure of the Empty House, it works. And that's hard to do. I would say, I mean, I really love Larry Millett's book and all that, but I'm sure it doesn't fit, so to speak. But that's up to you to care. If you're not a purist, you can fiddle around any old way you like. But I think it's kind of great to, to, to have the, the BSI types, the Baker Street Irregular types say, “Yes, this clicked into place.”Jim: So that's the most difficult thing. What's the easiest part?Jeffrey: Well, I think it's frankly the language, the dialogue. Somebody pointed out that Holmes is the most dramatically depicted character in history. More than Robin Hood, more than Jesus Christ. There are more actor versions of Holmes than any other fictional character.We've been surrounded by Holmes speak. Either if we've read the books or seen the movies or seen any of the plays for over 140 years. Right. So, in a way, if you're like me, you kind of absorb that language by osmosis. So, for some reason, it's very easy for me to click into the way I think Holmes talks. That very cerebral, very fast, sometimes complicated syntax. That I find probably the easiest part. Working out the plots, you want them to be Holmesian. You don't want them to be plots from, you know, don't want the case to be solved in a way that Sam Spade would, or Philip Marlowe would. And that takes a little bit of work. But for whatever reason, it's the actor in you, it's saying, all right, if you have to ad lib or improv your way of Sherlock Holmes this afternoon, you know, you'd be able to do it, right? I mean, he really has permeated our culture, no matter who the actor is.Jim: Speaking of great actors that have played Sherlock Holmes, you adapted a movie that Ian McKellen played, and I just watched it recently in preparation for this interview.Having not seen it before, I was riveted by it. His performance is terrific and heartbreaking at the same time. Can we talk about that? How did you come to that project? And just give us everything.Jeffrey: Well, it's based on a book called A Slight Trick of the Mind by Mitch Cullen, and it's about a very old Sherlock Holmes in Surrey, tending to his bees, as people in Holmesland know that he retired to do. And it involves a couple of cases, one in Japan and one about 20 years earlier in his life that he's trying to remember. And it also has to do with his relationship with his housekeeper and the housekeeper's son. The book was given to me by Anne Carey, the producer, and I worked on it probably off and on for about five years.A lot of time was spent talking about casting, because you had to have somebody play very old. I remember I went to meet with Ralph Fiennes once because we thought, well, Ralph Fiennes could play him at his own age,‑then probably his forties‑and with makeup in the nineties.And Ralph said‑Ralph was in another film that I'd done‑and he said, “Oh, I don't wear all that makeup. That's just far too much.” And I said, “Well, you did in Harry Potter and The English Patient, you kind of looked like a melted candle.” And he said, “Yes, and I don't want to do that again.” So, we always had a very short list of actors, probably like six actors in the whole world And McKellen was one of them and we waited for him to become available And yeah, he was terrific. I'll tell you one funny story: One day, he had a lot of prosthetics, not a lot, but enough. He wanted to build up his cheekbones and his nose a bit. He wanted a bit, he thought his own nose was a bit too potatoish. So, he wanted a more Roman nose. So, he was taking a nap one day between takes. And they brought him in, said, “Ian, it's time for you to do the, this scene,” and he'd been sleeping, I guess, on one side, and his fake cheek and his nose had moved up his face. But he hadn't looked in the mirror, and he didn't know. So he came on and said, “Very well, I'm all ready to go.” And it was like Quasimodo.It's like 5:52 and they're supposed to stop shooting at six. And there was a mad panic of, Fix Ian's face! Get that cheekbone back where it's supposed to be! Knock that nose into place! A six o'clock, we go into overtime!” But it was very funny that he hadn't noticed it. You kind of think you'd feel if your own nose or cheekbone had been crushed, but of course it was a makeup. So, he didn't feel anything. Jim: This is just the, uh, the actor fan boy in me. I'm an enormous fan of his work straight across the board. Did you have much interaction with him and what kind of fella is he just in general?Jeffrey: He's a hoot. Bill Condon, the director, said, “Ian is kind of methody. So, when you see him on set, he'll be very decorous, you know, he'll be kind of like Sherlock Holmes.” And it was true, he goes, “Oh, Jeffrey Hatcher, it's very good to meet you.” And he was kind of slow talking, all that. Ian was like 72 then, so he wasn't that old. But then when it was all over, they were doing all those--remember those ice Dumps, where people dump a tub of ice on you? You have these challenges? A the end of shooting, they had this challenge, and Ian comes out in short shorts, and a bunch of ballet dancers surrounds him. And he's like, “Alright, everyone, let's do the ice challenge.” And, he turned into this bright dancer. He's kind of a gay poster boy, you know, ever since he was one of the most famous coming out of the last 20 some years. So, you know, he was suddenly bright and splashy and, you know, all that old stuff dropped away. He has all of his headgear at his house and his townhouse. He had a party for us at the end of shooting. And so, there's a Gandalf's weird hat and there's Magneto's helmet, you know, along with top hats and things like that. And they're all kind of lined up there. And then people in the crew would say, can I take a picture of you as Gandalf? “Well, why, of course,” and he does all that stuff. So no, he's wonderful. Jim: You do a very good impression as well. That was great. Now, how did you come to the project, The Good Liar, which again, I watched in preparation for this and was mesmerized by the whole thing, especially the mystery part of it, the ending, it was brilliant.How did you come to that project?Jeffrey: Well, again, it was a book and Warner Brothers had the rights to it. And because Bill and I had worked on Mr. Holmes--Bill Condon--Bill was attached to direct. And so I went in to talk about how to adapt it.This is kind of odd. It's again based in McKellen. In the meeting room at Warner Brothers, there was a life size version of Ian as Gandalf done in Legos. So, it was always, it'll be Ian McKellen and somebody in The Good Liar. Ian as the con man. And that one kind of moved very quickly, because something changed in Bill Condon's schedule. Then they asked Helen Mirren, and she said yes very quickly.And it's a very interesting book, but it had to be condensed rather a lot. There's a lot of flashbacks and going back and forth in time. And we all decided that the main story had to be about this one con that had a weird connection to the past. So, a lot of that kind of adaptation work is deciding what not to include, so you can't really be completely faithful to a book that way. But I do take the point with certain books. When my son was young, he'd go to a Harry Potter movie, and he'd get all pissed off. Pissed off because he'd say Dobby the Elf did a lot more in the book.But if it's a book that's not quite so well-known—The Good Liar isn't a terribly well-known book, nor was A Slight Trick of the Mind--you're able to have a lot more room to play. Jim: It's a very twisty story. Now that you're talking about the book, I'll probably have to go get the book and read it just for comparison. But what I saw on the screen, how did you keep it--because it was very clear at the end--it hits you like a freight train when it all sort of unravels and you start seeing all of these things. How did you keep that so clear for an audience? Because I'll admit, I'm not a huge mystery guy, and I'm not the brightest human, and yet I was able to follow that story completely.Jeffrey: Well, again, I think it's mostly about cutting things, I'm sure. And there are various versions of the script where there are a lot of other details. There's probably too much of one thing or another. And then of course, you know, you get in the editing room and you lose a couple of scenes too. These kinds of things are very tricky. I'm not sure that we were entirely successful in doing it, because you say, which is more important, surprise or suspense? Hitchcock used to have that line about, suspense is knowing there's a bomb under the table. And you watch the characters gather at the table. As opposed to simply having a bomb blow up and you didn't know about it.So, we often went back and forth about Should we reveal that the Helen Mirren character knows that Ian's character is doing something bad? Or do we try to keep it a secret until the end? But do you risk the audience getting ahead of you? I don't mind if the audience is slightly ahead. You know, it's that feeling you get in the theater where there's a reveal and you hear a couple of people say, “Oh, I knew it and they guessed it may be a minute before. But you don't want to get to the point where the audience is, you know, 20 minutes or a half an hour ahead of you.Jim: I certainly was not, I was not in any way. It unfolded perfectly for me in terms of it being a mystery and how it paid off. And Helen Mirren was brilliant. In fact, for a long time during it, I thought they were dueling con men, the way it was set up in the beginning where they were both entering their information and altering facts about themselves.I thought, “Oh, well, they're both con men and, and now we're going to see who is the better con man in the end.” And so. when it paid off. In a way different sort of way, it was terrific for me. Absolutely. Jeffrey: Well, and I thank you. But in a way, they were both con men. Jim: Yes, yes. But she wasn't a professional con man.Jeffrey: She wasn't just out to steal the money from him. She was out for something else. She was out for vengeance. Jim: Yes. Very good. Very, if you haven't seen it, The Good Liar folks, don't wait. I got it on Amazon prime and so can you.Jeffrey: I watched them do a scene, I was over there for about five days during the shooting.And watching the two of them work together was just unbelievable. The textures, the tones, the little lifts of the eyebrow, the shading on one word versus another. Just wonderful, wonderful stuff. Jim: Yeah. I will say I am a huge Marvel Cinematic Universe fan along with my son. We came to those together and I'm a big fan of that sort of movie. So I was delighted by this, because it was such a taut story. And I was involved in every second of what was going on and couldn't quite tell who the good guys were and who the bad guys were and how is this going to work and who's working with who?And it was great. And in my head, I was comparing my love for that sort of big blow it up with rayguns story to this very cerebral, internal. And I loved it, I guess is what I'm saying. And, I am, I think, as close to middle America as you're going to find in terms of a moviegoer. And I thought it was just dynamite. Jeffrey: It was very successful during the pandemic--so many things were when people were streaming--but it was weirdly successful when it hit Amazon or Netflix or whatever it was. And, I think you don't have to be British to understand two elderly people trying to find a relationship. And then it turns out that they both have reasons to hate and kill each other. But nonetheless, there is still a relationship there. So, I pictured a lot of lonely people watching The Good Liar and saying, “Yeah, I'd hang out with Ian McKellen, even if he did steal all my money.” John: Well, speaking of movies, I am occasionally handed notes here while we're live on the air from my wife. And she wants you to just say something about the adaptation you did of your play, Stage Beauty, and what that process was like and how, how that process went.Jeffrey: That was terrific because, primarily Richard Eyre--the director who used to run the National Theater and all that--because he's a theater man and the play's about theater. I love working with Bill Condon and I've loved working with Lassa Hallstrom and other people, but Richard was the first person to direct a film of any of my stuff. And he would call me up and say, “Well, we're thinking of offering it to Claire Danes.” or we're thinking…And usually you just hear later, Oh, somebody else got this role. But the relationship was more like a theater director and a playwright. I was there on set for rehearsals and all that.Which I haven't in the others. No, it was a wonderful experience, but I think primarily because the, the culture of theater saturated the process of making it and the process of rehearsing it and—again--his level of respect. It's different in Hollywood, everybody's very polite, they know they can fire you and you know, they can fire you and they're going to have somebody else write the dialogue if you're not going to do it, or if you don't do it well enough. In the theater, we just don't do that. It's a different world, a different culture, different kind of contracts too. But Richard really made that wonderful. And again, the cast that he put together: Billy Crudup and Claire and Rupert Everett and Edward Fox and Richard Griffiths. I remember one day when I was about to fly home, I told Richard Griffiths what a fan Evan-- my son, Evan--was of him in the Harry Potter movie. And he made his wife drive an hour to come to Shepperton with a photograph of him as Mr. Dursley that he could autograph for my son. John: Well, speaking of stage and adaptations, before we go into our lightning round here, you did two recent adaptations of existing thrillers--not necessarily mysteries, but thrillers--one of which Hitchcock made into a movie, which are Dial M for Murder and Wait Until Dark. And I'm just wondering what was that process for you? Why changes need to be made? And what kind of changes did you make?Jeffrey: Well, in both cases, I think you could argue that no, changes don't need to be made. They're wildly successful plays by Frederick Knott, and they've been successful for, you know, alternately 70 or 60 years.But in both cases, I got a call from a director or an artistic director saying, “We'd like to do it, but we'd like to change this or that.” And I'm a huge fan of Frederick Knott. He put things together beautifully. The intricacies of Dial M for Murder, you don't want to screw around with. And there are things in Wait Until Dark having to do just with the way he describes the set, you don't want to change anything or else the rather famous ending won't work. But in both cases, the women are probably not the most well drawn characters that he ever came up with. And Wait Until Dark, oddly, they're in a Greenwich Village apartment, but it always feels like they're really in Westchester or in Terre Haute, Indiana. It doesn't feel like you're in Greenwich Village in the 60s, especially not in the movie version with Audrey Hepburn. So, the director, Matt Shackman, said, why don't we throw it back into the 40s and see if we can have fun with that. And so it played out: The whole war and noir setting allowed me to play around with who the main character was. And I know this is a cliche to say, well, you know, can we find more agency for female characters in old plays or old films? But in a sense, it's true, because if you're going to ask an actress to play blind for two hours a night for a couple of months, it can't just be, I'm a blind victim. And I got lucky and killed the guy. You've got a somewhat better dialogue and maybe some other twists and turns. nSo that's what we did with Wait Until Dark. And then at The Old Globe, Barry Edelstein said, “well, you did Wait Until Dark. What about Dial? And I said, “Well, I don't think we can update it, because nothing will work. You know, the phones, the keys. And he said, “No, I'll keep it, keep it in the fifties. But what else could you What else could you do with the lover?”And he suggested--so I credit Barry on this--why don't you turn the lover played by Robert Cummings in the movie into a woman and make it a lesbian relationship? And that really opened all sorts of doors. It made the relationship scarier, something that you really want to keep a secret, 1953. And I was luckily able to find a couple of other plot twists that didn't interfere with any of Knott's original plot.So, in both cases, I think it's like you go into a watch. And the watch works great, but you want the watch to have a different appearance and a different feel when you put it on and tick a little differently. John: We've kept you for a way long time. So, let's do this as a speed round. And I know that these questions are the sorts that will change from day to day for some people, but I thought each of us could talk about our favorite mysteries in four different mediums. So, Jeff, your favorite mystery novel”Jeffrey: And Then There Were None. That's an easy one for me. John: That is. Jim, do you have one?Jim: Yeah, yeah, I don't read a lot of mysteries. I really enjoyed a Stephen King book called Mr. Mercedes, which was a cat and mouse game, and I enjoyed that quite a bit. That's only top of mind because I finished it recently.John: That counts. Jim: Does it? John: Yeah. That'll count. Jim: You're going to find that I am so middle America in my answers. John: That's okay. Mine is--I'm going to cheat a little bit and do a short story--which the original Don't Look Now that Daphne du Murier wrote, because as a mystery, it ties itself up. Like I said earlier, I like stuff that ties up right at the end. And it literally is in the last two or three sentences of that short story where everything falls into place. Jeff, your favorite mystery play? I can be one of yours if you want. Jeffrey: It's a battle between Sleuth or Dial M for Murder. Maybe Sleuth because I always wanted to be in it, but it's probably Dial M. But it's also followed up very quickly by Death Trap, which is a great comedy-mystery-thriller. It's kind of a post-modern, Meta play, but it's a play about the play you're watching. John: Excellent choices. My choice is Sleuth. You did have a chance to be in Sleuth because when I directed it, you're the first person I asked. But your schedule wouldn't let you do it. But you would have been a fantastic Andrew Wyke. I'm sorry our timing didn't work on that. Jeffrey: And you got a terrific Andrew in Julian Bailey, but if you wanted to do it again, I'm available. John: Jim, you hear that? Jim: I did hear that. Yes, I did hear that. John: Jim, do you have a favorite mystery play?Jim: You know, it's gonna sound like I'm sucking up, but I don't see a lot of mystery plays. There was a version of Gaslight that I saw with Jim Stoll as the lead. And he was terrific.But I so thoroughly enjoyed Holmes and Watson and would love the opportunity to see that a second time. I saw it so late in the run and it was so sold out that there was no coming back at that point to see it again. But I would love to see it a second time and think to myself, well, now that you know what you know, is it all there? Because my belief is it is all there. John: Yeah. Okay. Jeff, your favorite TV mystery?Jeffrey: Oh, Columbo. That's easy. Columbo.John: I'm gonna go with Poker Face, just because the pace on Poker Face is so much faster than Columbo, even though it's clearly based on Columbo. Jim, a favorite TV mystery?Jim: The Rockford Files, hands down. John: Fair enough. Fair enough. All right. Last question all around. Jeff, your favorite mystery movie? Jeffrey: Laura. Jim: Ah, good one. John: I'm going to go with The Last of Sheila. If you haven't seen The Last of Sheila, it's a terrific mystery directed by Herbert Ross, written by Stephen Sondheim and Anthony Perkins. Fun little Stephen Sondheim trivia. The character of Andrew Wyke and his house were based on Stephen Sondheim. Jeffrey: Sondheim's townhouse has been for sale recently. I don't know if somebody bought it, but for a cool seven point something million, you're going to get it. John: All right. Let's maybe pool our money. Jim, your favorite mystery movie.Jim: I'm walking into the lion's den here with this one. Jeffrey, I hope this is okay, but I really enjoyed the Robert Downey Jr. Sherlock Holmes movies. And I revisit the second one in that series on a fairly regular basis, The Game of Shadows. I thought I enjoyed that a lot. Your thoughts on those movies quickly? Jeffrey: My only feeling about those is that I felt they were trying a little too hard not to do some of the traditional stuff. I got it, you know, like no deer stalker, that kind of thing. But I thought it was just trying a tad too hard to be You know, everybody's very good at Kung Fu, that kind of thing.Jim: Yes. And it's Sherlock Holmes as a superhero, which, uh, appeals to me. Jeffrey: I know the producer of those, and I know Guy Ritchie a little bit. And, I know they're still trying to get out a third one. Jim: Well, I hope they do. I really hope they do. Cause I enjoyed that version of Sherlock Holmes quite a bit. I thought it was funny and all of the clues were there and it paid off in the end as a mystery, but fun all along the road.Jeffrey: And the main thing they got right was the Holmes and Watson relationship, which, you know, as anybody will tell you, you can get a lot of things wrong, but get that right and you're more than two thirds there.

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia   The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs   The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

Could you one day be GBR for death, as well as life?

Local author Mike Mayer (pen name M. Stone Mayer) discusses the release of his first book, a thriller titled “Ashes to Ashes.” There will be a release party at Imminent Brewing on Thursday, June 20, 6-8pm.

 Local author Mike Mayer (pen name M. Stone Mayer) discusses the release of his first book, a thriller titled "Ashes to Ashes." There will be a release party at Imminent Brewing on Thursday, June 20, 6-8pm. 

The "Demon Slayers" charge across Ashen Rest to put a stop to the Lamplighter's plans! HIGH ROLLERS LIVE in London on the 17th September 2024! Tickets live now: https://www.aegpresents.co.uk/event/high-rollers/ Boost your Charisma with some HR merch! https://highrollersdnd.teemill.com/ Add the Heroes of Altheya Minis to your TTRPG collection here: https://only-games.co/collections/high-rollers Enhance your bath time experience with the official Altheya themed DiceBombs at https://geekyclean.com/! Check out https://www.highrollersdnd.com/ for all the latest HR News! Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

A green shroud encases Ashen Rest as the Lamplighter's plot comes to fruition! HIGH ROLLERS LIVE in London on the 17th September 2024! Tickets live now: https://www.aegpresents.co.uk/event/high-rollers/ Boost your Charisma with some HR merch! https://highrollersdnd.teemill.com/ Add the Heroes of Altheya Minis to your TTRPG collection here: https://only-games.co/collections/high-rollers Enhance your bath time experience with the official Altheya themed DiceBombs at https://geekyclean.com/! Check out https://www.highrollersdnd.com/ for all the latest HR News! Love the podcast? Give us a glittering 5 star review! https://podcasts.apple.com/us/podcast/high-rollers-dnd/id1401508198?see-all=reviews Support the High Rollers on Patreon and get early access to Podcast episodes, vods and more: www.patreon.com/HighRollers Music courtesy of Epidemic Sound, TCT Adventures (Solasta: Crown of the Magisters), Monument Studios and Jolene Khor! Check out Jolene Khor and all her wonderful work on High Rollers on Spotify: https://open.spotify.com/artist/1WX3ICiTmf4GpHwImnQMs6 Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode, we welcome back the always entertaining and incredibly insightful Robbin Terry, Paranormal Investigator and owner of Ashmore Estates and the Haunted R Theater.

CW: Heavy tension, goreFairytales were created by parents to keep their children from wandering off into the night. But what happens when the darkness in one of those tales comes to life?Written by Naomi Richards and Sound Designed by Landon 'Lemon' WhisnantCast:Naomi Richards as The NarratorBill Symons as GrandpaAudistorium's Media Links: https://linktr.ee/audistoriumMorbid Forest's Media Links: https://linktr.ee/themorbidforestSupport Morbid Forest on Patreon by going to Patreon.com/TheMorbidForestClick here for our Patreon! You can also find it at Patreon.com/Audistorium or you can support the show by leaving us a rating, and we also have a Ko-fi under https://ko-fi.com/audistorium should you be interested in donating anything to the production. Hosted on Acast. See acast.com/privacy for more information.

++++ LINKS +++++ Online Gathering Details: http://redhills.church/online Give Online: http://redhills.church/give Connect Card: http://redhills.church/connectcard +++++ JOIN US +++++ In-Person Gatherings // Sundays at 8:00AM, 9:30AM (livestreamed), 11:00AM Third Street Location // 115 W Third Street, Newberg, OR, 97132http://redhills.church/online +++++ CONNECT +++++ Website: http://redhills.church Facebook: https://www.facebook.com/redhillschurchnewberg Instagram: https://www.instagram.com/redhillschurchnewberg YouTube: http://bit.ly/rhcyoutube +++++ CONTACT +++++ Email: info@redhills.church Phone: 971.225.3737 Church Office: 200 S Grant Street, Newberg, OR 97132

It's Witness Wednesday at Georgia Tech! This week Todd speaks with Steven, a student with a lot of raw honesty and vulnerability. Wretched Radio | Air Date: March 13, 2024 https://media-wretched.org/Radio/Podcast/WR2024-0313.mp3 It's Witness Wednesday at Georgia Tech! This week Todd speaks with Steven, a student with a lot of raw honesty and vulnerability. ___ Download […] The post ASHES TO ASHES appeared first on Wretched.

Join John and B for the latest episode of Bodyslam.net's Game Changer Weekly, focusing on all the happenings in Game Changer Wrestling! This week the guys run down the news and results from this past weekend's big Atlantic City events, Ashes to Ashes and So Much Fun! ------------------------------------------------------------------------------------------------------------------------------------ BodySlamNet is back with a brand new interactive YouTube channel! Get ready for more live streams of show reviews, post shows, watch alongs, interviews and much more covering WWE, AEW, NJPW, IMPACT Wrestling/TNA, STARDOM, GCW, ROH and more. ------------------------------------------------------------------------------------------------------------------------------------ See Cassidy Haynes, Stephanie Hypes, Alex Lajas aka Queen of the Ring, Lyric Wrestling, Lo, LeMaire Lee, Lewis, Astrid and more for our new LIVE post shows where we will be discussing all the weekly shows with you all. ------------------------------------------------------------------------------------------------------------------------------------ You can show your support for all of our new hosts, videos and channel at slamchats.com for viewer donations that go directly to us here. Support BodySlam!

++++ LINKS +++++ Online Gathering Details: http://redhills.church/online Give Online: http://redhills.church/give Connect Card: http://redhills.church/connectcard +++++ JOIN US +++++ In-Person Gatherings // Sundays at 8:00AM, 9:30AM (livestreamed), 11:00AM Third Street Location // 115 W Third Street, Newberg, OR, 97132http://redhills.church/online +++++ CONNECT +++++ Website: http://redhills.church Facebook: https://www.facebook.com/redhillschurchnewberg Instagram: https://www.instagram.com/redhillschurchnewberg YouTube: http://bit.ly/rhcyoutube +++++ CONTACT +++++ Email: info@redhills.church Phone: 971.225.3737 Church Office: 200 S Grant Street, Newberg, OR 97132

Sit back, relax and pop a couple quaaludes cause Sam and Ryan are on a roll! Let the smooth sounds of their intergalactic b$&lshit train cause you to question your very existence. Sam talks Bro Code. Ryan needs an Uber Piss. And what the f&$k is “butt to butt”? Find out in this episode of BNR. Oh, and the boys hate some cute ideas to help you preserve your family's legacy.Tune in, vibe out, share, and enjoy this 100th episode responsibly!Remember:"Do not go gentle into that good night,Old age should burn and rave at close of day;Rage, rage against the dying of the light."Send your thank you letters, fan mail, media awards, or sick burns to burnandravepodcast@gmail.comFollow us here: IG @burnandravepodcastHosts: Ryan Rosenow & Sam Pierstorff (@njapoet)Sound Engineer: Joe ZimmererSupport the show

++++ LINKS +++++ Online Gathering Details: http://redhills.church/online Give Online: http://redhills.church/give Connect Card: http://redhills.church/connectcard +++++ JOIN US +++++ In-Person Gatherings // Sundays at 8:00AM, 9:30AM (livestreamed), 11:00AM Third Street Location // 115 W Third Street, Newberg, OR, 97132http://redhills.church/online +++++ CONNECT +++++ Website: http://redhills.church Facebook: https://www.facebook.com/redhillschurchnewberg Instagram: https://www.instagram.com/redhillschurchnewberg YouTube: http://bit.ly/rhcyoutube +++++ CONTACT +++++ Email: info@redhills.church Phone: 971.225.3737 Church Office: 200 S Grant Street, Newberg, OR 97132

++++ LINKS +++++ Online Gathering Details: http://redhills.church/online Give Online: http://redhills.church/give Connect Card: http://redhills.church/connectcard +++++ JOIN US +++++ In-Person Gatherings // Sundays at 8:00AM, 9:30AM (livestreamed), 11:00AM Third Street Location // 115 W Third Street, Newberg, OR, 97132http://redhills.church/online +++++ CONNECT +++++ Website: http://redhills.church Facebook: https://www.facebook.com/redhillschurchnewberg Instagram: https://www.instagram.com/redhillschurchnewberg YouTube: http://bit.ly/rhcyoutube +++++ CONTACT +++++ Email: info@redhills.church Phone: 971.225.3737 Church Office: 200 S Grant Street, Newberg, OR 97132

A judge makes a decision in the case against Megan and Shirley. The people they deceived try to figure out a way to honor the ashes of unknown people. Unlock all episodes of Cover Up: Body Brokers, ad-free, right now by subscribing to The Binge. Plus, get binge access to brand new stories dropping on the first of every month — that's all episodes, all at once, all ad-free. Just click ‘Subscribe' on the top of the Cover Up: Body Brokers show page on Apple Podcasts or visit GetTheBinge.com to get access wherever you get your podcasts. A Campside Media and Sony Music Entertainment production. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Pastor Lane Greenleaf-Perez continues our series Ashes to Ashes. ++++ LINKS +++++ Online Gathering Details: http://redhills.church/online Give Online: http://redhills.church/give Connect Card: http://redhills.church/connectcard +++++ JOIN US +++++ In-Person Gatherings // Sundays at 8:00AM, 9:30AM (livestreamed), 11:00AM Third Street Location // 115 W Third Street, Newberg, OR, 97132http://redhills.church/online +++++ CONNECT +++++ Website: http://redhills.church Facebook: https://www.facebook.com/redhillschurchnewberg Instagram: https://www.instagram.com/redhillschurchnewberg YouTube: http://bit.ly/rhcyoutube +++++ CONTACT +++++ Email: info@redhills.church Phone: 971.225.3737 Church Office: 200 S Grant Street, Newberg, OR 97132

Frank starts the show talking about the deadly Kansas City shooting with WABC host Dominic Carter. He also talks with Bill O'Reilly, veteran journalist, nationally syndicated radio talk show host, host of “The No Spin News” and a New York Times best-selling author, whose forthcoming book is “Confronting the Presidents”. They talk about the Alejandro Mayorkas impeachment and the gun control debate in the aftermath of the Kansas City shooting. Learn more about your ad choices. Visit megaphone.fm/adchoices

Emily and I served up "Dish" regarding Kyle and Morgan, Jen Shah and Elizabeth Holmes, the new season of Top Chef and more! We wrap up the cast trip to Spain for the Bevery Hills ladies as they threw the worries into the ocean and Erika tries to get apologies but has no luck. We also discuss the "read before signing' conversation. For more recaps and content, subscribe to: patreon.com/dramadarling To check out meal kits by EveryPlate, I am happily a partner so please use code: 49drama https://get.everyplate.com/podcast

A fatal fire, a needy pastor, and a chilling premonition.This episode was originally published on December 5, 2023. 

In the Spring of 1986, a man discovers that his elderly father has been trapped inside his home that was devastated by a fire. But no one can figure out what caused the fire – or what exactly happened to the man's father. When medical science can't explain it, one investigator turns to a strange phenomenon to find answers.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

When Ensign Kim's old flame shows up on Voyager, her melting face doesn't stop him from making a move. But when moody-as-hell middle school borgs overwhelm Seven of Nine, Chakotay suggests adapting her parenting style to a more spontaneous type of fun. Why is Jhet'leya's loaf still warm? Who does Star Trek want you to fall in love with? When do borgs start growing tubules? It's the episode that adds a dead chick to Harry Kim's body count!h!Support the production of The Greatest Generation.Friends of DeSoto for Democracy.Friends of DeSoto for Justice. Friends of DeSoto for Labor.Follow The Game of Buttholes: The Will of the Caretaker!Music by Adam Ragusea & Dark MateriaFollow The Greatest Generation on Twitter, and discuss the show using the hashtag #GreatestGen!The Greatest Generation is on YouTube.Facebook group | Subreddit | Discord | WikiSign up for our mailing list!Get a thing at podshop.biz!

Ben Lindbergh and Meg Rowley banter about a J.P. France postgame quote and ballplayer clichés, the death of first overall pick Mike Ivie, and how Masataka Yoshida's debut season stacks up to the MLB rookie years of other ex-NPB stars, answer emails (36:57) about Mike Trout's and Shohei Ohtani's futures, a Trout/Hunter Renfroe trade deadline […]