Podcasts about Baskerville

Nie wiemy co jest bardziej popularne: czy debiutancka powieść Umberto Eco, czy może jej filmowa adaptacja z genialną rolą Seana Connery'ego w roli Wilhelma z Baskerville. Z całą pewnością wiemy jednak, że Imię róży do dziś jest historią wzbudzającą ogromny zachwyt ze względu na swój rozmach, wielowątkowość i rekonstrukcję najdrobniejszych detali benedyktyńskiego opactwa na północy Włoch.Jest 1327 rok, angielski franciszkanin i towarzyszący mu nowicjusz, wpadają na trop tajemnicy związanej ze śmiercią młodego mnicha, który zabił się spadając z wieży klasztornej. Chcąc rozwiązać zagadkę analizują kolejne gwałtowne zgonów w klasztorze i odkrywają związek między śmiercią mnichów, a zaginionym dziełem Arystotelesa, poświęconym komedii. Jest ono przechowywane w zakonnej bibliotece, a ktokolwiek dotknie kart wspomnianej książki umiera z niewyjaśnionych powodów. Na straży bibliotecznego labiryntu stoi niewidomy i posępny mnich Jorge z Burgos. Dlaczego i z jakiego powodu boi się ujawnić treść wspomnianego dzieła? Co ma z tym wspólnego przemilczana przez autorów ewangelii kwestia śmiechu Pana Jezusa? Jaką rolę w tym wszystkim odgrywa dominikańska inkwizycja?To tylko kilka pytań, z którymi zmierzą się prof. Ryszard Koziołek i ojciec Roman Bielecki w kolejnym odcinku cyklu rozmów Dobrze się wierzy literaturą.I niech nie zmylą was pozory, Imię róży to tylko teoretycznie średniowieczny thriller. W rzeczywistości jest to znakomity traktat o Bogu, wierze, rozumie i tolerancji ciągle aktualny mimo upływu lat. 

Bob Baskerville joins the show Vols drop two of three to Vandy More Jordan and Bill Belichick drama

Show Notes: Sarah Dobson, founder and creative director at Design of Brand, discusses their niche in helping founders of companies establish their brand identity. They offer a process that includes brand strategy, naming, and creating a visual identity system for launch or relaunch. She explains what a brand identity entails and provides examples of successful case studies.  Discovering and Designing a Brand Identity Sarah explains what the core of a brand identity is, how it is more than just a palette or a logo, and how she helps founders articulate that identity from developing the symbolic mark, word mark, and often, the name of the company through to the visual design elements of fonts and colours etc. She discusses her practice of collecting examples for design inspiration. She shares that he takes photos of various elements, such as typography, street signs, shapes, and color palettes, and banks them to find the right place in someone's identity. She also mentions that she started using Pinterest early on and quickly gained 800,000 followers. Sarah believes that understanding trends is crucial for creating unique designs and not looking like another brand. She uses Pinterest to research interiors and symbols for clients where she populates secret boards with images and ideas. She researches broadly online to find inspiration from a variety of sources and uses it to create visually appealing designs. Sarah mentions that she is considering launching a course to help people name their companies. She believes that sharing her capabilities with others would be meaningful to help more people develop their brand identity. A Case Study on Naming a Brand  Sarah shares a case study of working with a founder who didn't have a name for their company. She shares the story of Othership, a social sauna and cold plunge business in New York. The founder had stopped drinking and was looking for alternative alternatives to bars. Sarah explains that she had two clients who were also interested in Sonic culture and the Soho House of Wellness. The clients joined forces to establish their company and Sarah explains how she worked closely with them to develop a deep understanding of who they were and of the company they were developing. Sarah observed the founders as they were prototyping and building out the space. They developed breath work, audio and physical space to help them synthesize their vision for a more social, healthy way of having fun. Sarah explains how she encouraged them to change their name from Inward to Othership  because it reflected the founder's focus on connections and creating a healthy space with and for others rather than internal issues. She also explains how playing with suffixes and compound words is a part of the naming process. Case Study on Creating a Visual Identity Sarah discusses the process of creating a visual identity for the brand Othership, including the logo mark, buttons, and photography. She talks about where she found inspiration for the symbol mark, which included drawing inspiration from the spinning top toy and The Sims. The logo has had an incredible effect on people's lives, with at least five people now having tattoos of it. The color scheme was inspired by Disney's Fantasia, and the founders' energy was a key factor in the design, and the color palette was atypical and flexible, not just two colors. Sarah explains that this approach was similar to a design she developed for a super food snack cafe's color palette. In terms of process and iterations, Sarah mentions that, sometimes, two to three different concepts are explored, with one being the most likely one based on the client's preferences and the other exploring more strategic ideas. The process is seen as due diligence, with the goal of finding the one that resonates with the client. Case Study on the Brand Identity of a Cannabis Retailer and an Organic Food Snack Sarah discusses his experiences in creating a cannabis retailer in Canada, which was a unique and exciting venture. She created a brand called Superette, which aimed to make people feel comfortable buying cannabis legally. The brand was inspired by Peter Pan in Brooklyn, an old Polish bakery because the store felt like a community, with lineups and regulars for breakfast. Another case example is a nut milk bar cafe and a nut milk. The cafe was developed by a friend after completing a nutrition education course and wanted to provide a healthier cafe alternative to muffins and unhealthy drinks. The founder went on to develop and sell the nut milk, which  t is made from scratch and is nutritionally dense, making it a potential competitor to Starbucks. The brand was rebranded and reworked, with the word mark and visual identity system updated. The goal was to strengthen and optimize the brand for future success. A Design Perspective on Fonts Sarah talks about her knowledge with fonts. She shares a quote, “words have meaning but  typography has a feeling and can be spectacular.” She talks about the evolution of typography from handwriting, scripting, manuscripts, and the printing press to the computer. A study by the New York Times found that serifs such as Baskerville or Garamond were found to be the most believable font. Sarah suggests starting to educate oneself by examining their intuition and feeling the right fit. She mentions that Comic Sans, an early digital font, has been found to be beneficial for dyslexia due to its letter forms. Sarah talks about her methods of classification when choosing a brand font and gives a few examples of how a font feels. She suggests that anyone interested in learning more about fonts should start by exploring different font styles and their impact on the human subconscious. Timestamps: 01:44 Explaining Brand Identity  07:31: Case Study: Other Ship 17:30: Visual Identity and Branding Elements  22:17: Typography and Design Philosophy  22:34: Case Study: Superette  25:37: Case Study: Nut Bar  Links: Website Portfolio Design of Brand Instagram Othership Othership Inspiration "Logo Dump" Superette Nutbar Unleashed is produced by Umbrex, which has a mission of connecting independent management consultants with one another, creating opportunities for members to meet, build relationships, and share lessons learned. Learn more at www.umbrex.com.

#uganda #folktaleIn the first story, we learn about a young woman who loves a man so much, that when he dies, she wants to be burned by the sun. And in the second story, we see what happens when a young woman is made heartless.Source: The flame tree and other folk-lore stories from UgandaNarrator: Dustin SteichmannMusic: Bunyole Song 1Sound Effects: Dewe at Night by LaklopPhoto Credit: "immature sunbird on African Flame Tree" by emiliechenphotography is licensed under CC BY-ND 2.0.Podcast Shoutout: Chatsunami is a casual chat between friends about a variety of topics from gaming and films to anime and general interests. Available on Spotify, iTunes and all good podcasting apps.Listener Shoutout: San Carlos CityPatreon: Sandman Stories After Dark

Bob Baskerville checks into the Drive Taking calls from more fans The Top 5 at 5:00

Legenda o pekelnom psovi, ktorý z pomsty prenasleduje potomkov rodiny Baskervillovcov, sa v Londýne zdá Watsonovi strašidelná a Holmesovi veľmi zaujímavá, najmä v súvislosti s osudom nebohého sira Charlesa Baskervilla. Na zámku Baskerville, v pochmúrnom kraji plnom zradných slatín a močiarov, sa prípad nezdá o nič jasnejší. Skôr naopak. Hmla akoby rozpíjala hranice medzi poverami a skutočnosťou, nad kopcami sa rozlieha príšerné vytie, z ktorého tuhne krv v žilách. Prízrak, zhmotnená legenda, nadobúda hrozivo reálne kontúry a nový dedič rodinného titulu a majetku sa ocitá v ohrození života. A nielen on, v slatinách číha nebezpečenstvo na každého... Pes rodu Baskervillovcov je znamenitou kombináciou prvkov nadprirodzena, gotického románu a klasického detektívneho príbehu. Ide o jeden z najznámejších a najobľúbenejších príbehov Sherlocka Holmesa, ktorý vo svojej kariére nezažil temnejší prípad. Audiokniha: Sherlock Holmes 3: Pes rodu Baskervillovcov Autor: Arthur Conan Doyle Interpret: Marek Koleno Dĺžka: 7:29 h Vydavateľstvo: Publixing Audiokniha Sherlock Holmes 3: Pes rodu Baskervillovcov na webe Publixing (MP3 na stiahnutie) Audiokniha Sherlock Holmes 3: Pes rodu Baskervillovcov na webe Audiolibrix (MP3 na stiahnutie)

L'invitée: Elisabeth Lusset, chargée de recherche au CNRS F. Murray Abraham, Michael Lonsdale, Sean Connery, Umberto Eco et Jean-Jacques Annaud sur le tournage du Nom de la Rose Le film: Le Nom de la Rose de Jean-Jacques Annaud (1986)La discussion:Présentation générale et résumé du film (1:30)L'origine du projet et le rôle des médiévistes comme conseillers historiques: Jacques Le Goff, Jean-Claude Schmitt, Michel Pastoureau, Françoise Piponnier…(5:45)Le casting et le choix discuté de Sean Connery (10:40)Les décors et les inspirations pour l'abbaye, mélange de différents sites: Eberbach, Rocca di San Leo, Sagra di San Michele, Castel del Monte… (12:20)Pourquoi une statue baroque dans un film médiéval ? (14:15)La réception critique et publique du film (15:40)Un roman d'Umberto Eco presque impossible à mettre à l'écran (17:55)La réaction furieuse de Jacques le Goff à la vision du film, et l'écart ou la tension entre cinéastes et historiens (21:20)Une représentation du Moyen âge en partie juste, mais largement fantasmée (22:50)La mise en scène d'un monastère bénédictin, et de ses rapports avec les paysans montrés comme misérables et exploités (24:25)Le discours idéologique ou politique du film, et l'Église dépeinte comme instance de domination (26:00)L'origine des franciscains, et des accusations d'hérésie portées contre certains ordres ou groupes religieux: Dolciniens, Spirituels… (31:50) et la mise en scène des affrontements religieux dans le film (37:20)La représentation de la vie monastique et la crainte du scandale face aux transgressions (38:20)Enquêtes, autopsies et poisons au Moyen âge (41:00)Peut-on torturer un moine médiéval, comme le suggère Bernardo Gui dans le film ? (43:40)La question de l'abstinence des clercs (45:40)L'anglais comme équivalent du latin dans le film, et le jeu sur les origines géographiques des personnages, avec le monastère comme lieu d'accueil (46:40)Livres, scriptorium, bibliothèques (49:35)Un Moyen âge dépeint sous des couleurs sombres, issu d'un imaginaire gothique / romantique: bossu, procès d'une « sorcière »… (52:33)Guillaume de Baskerville comme incarnation du versant positif, rationnel, du monde médiéval, par opposition au fanatisme de l'inquisiteur (moins sanguinaire dans la réalité) et du bibliothécaire (54:20)Les scènes les plus intéressantes d'un point de vue pédagogique ou pour ce qu'elles révèlent de la vision contemporaine du Moyen âge (55:40)Les références et conseils de lecture :Sur le film :– Jean-Jacques Annaud, Une vie pour le cinéma, entretiens avec M.-F. Leclère, Paris, Grasset, 2018– Priska Morrissey, Historiens et Cinéastes : rencontre de deux écritures, Paris, l'Harmattan, coll. « Champs visuels », 2004.– Jacques Le Goff, Une vie pour l'histoire: entretiens avec Marc Heurgon, Paris, La Découverte, 1996.– Michel Pastoureau, « La collaboration historique au cinéma: entretien avec Michel Pastoureau », Revue de l'Association historique des élèves du lycée Henri-IV : L'émoi de l'histoire, 21, tome 1, printemps 2000, p. 6-23.En histoire médiévale, pour l'éclairer :– “Le cloître et la prison”: webdocumentaire sur l'enfermement à Clairvaux– François Amy de la Bretèque, L'Imaginaire médiéval dans le cinéma occidental, Paris, Champion, 2004.– Franck Collard, Le Crime de poison au Moyen Âge, Paris, PUF (« Le nœud gordien »), 2003.– Faustine Harang, La torture au Moyen âge, Paris, PUF, 2018.– Claude Gauvard, Condamner à mort au Moyen âge, Paris, PUF, 2018.– Elisabeth Lusset, Crime, châtiment et grâce dans les monastères au Moyen Âge (XIIe-XVe siècle), Turnhout, Brepols, 2017.– Sophie Page, Magic in the Cloister. Pious Motives, Illicit Interests and Occult Approaches to the Medieval Universe, University Park (PA), The Pennsylvania State University Press, 2013.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Chase Thomas is the Sports Renaissance Man, Atlanta Sports Guy & VFL. On today's program, Chase is joined by Vol Report's Ryan Sylvia to talk about Tennessee's new-look backcourt vs. frontcourt (2:00), if they'll miss Jordan Gainey more than Zakai Zeigler, Nate Ament possibilities, Lady Vols transfer portal names to know, and who could be freshman starters for Kim Caldwell's team next year. Then, FanRun Radio's Bob Baskerville joins the program to talk about Chris Brazzell II's big spring for Tennessee football (37:00), offensive line expectations in 2025, if there is an Arkansas-type trap game in 2025, Tennessee's baseball depth and much more.Host: Chase ThomasGuest: Ryan Sylvia, Bob BaskervilleTo learn more about CT and the pod please go visit: https://chasethomaspodcast.comBy the way, this is a free, independent national sports podcast. To keep it that way, I'm going to need some help from you guys. If you're a fan of the pod and you haven't already, take a second right now and leave the show a 5-star rating and a review on Apple, Spotify or wherever you get your podcasts. It really does help, and it's so quick and easy to do. Thanks, y'all!Keep up with Chase on social media:Follow me on Twitter: https://twitter.com/PodChaseThomasFollow me on Instagram: https://bit.ly/3kFHPDnFollow me on TikTok: https://bit.ly/3JdZ3RF'Like' me on Facebook: https://bit.ly/3ZmURo4 Hosted on Acast. See acast.com/privacy for more information.

La Unión Europea se rearma. La Comisión Europea ha aprobado un plan de gasto de unos 800.000 millones de euros dedicados al gasto militar de tal forma que los países alcancen un gasto de, aproximadamente, el dos por ciento del PIB. La intención declarada es "prepararse ante la amenaza de Rusia" quienes, según afirman, estarían en condiciones de atacar Europa para el año 2030. Se está promocionando la confección entre la ciudadanía de un kit de supervivencia para 72 horas que permitiera paliar las consecuencias de un ataque ruso a infraestructuras básicas. Los países se han puesto manos a la obra para aprobar los planes en sus respectivos parlamentos y convencer a la población. La industria militar ha acogido las medidas con los brazos abiertos. Y, sin embargo, hay voces de expertos militares que cuestionan la forma apresurada y poco racional en que se está llevando a cabo. También se está cuestionando la honestidad de los argumentos proporcionados, dudando de la capacidad de Rusia para llevar a cabo ataques convencionales a gran escala sobre Europa. ¿Qué está pasando? Con Guillermo de Baskerville y Jesús Quiri. Conduce Antonio Rosenthal. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Join us and be inspired in this replay episode from Women Acquiring Assets, featuring Lezli Baskerville, CEO of the National Association for Equal Opportunity in Higher Education (NAFEO), has dedicated her career to advocating for Historically Black Colleges and Universities (HBCUs). With a strong foundation in constitutional law and social justice, Baskerville's leadership has been instrumental in addressing systemic disparities in education, particularly through efforts to secure more funding for HBCUs. She has been at the forefront of litigation to ensure that these institutions receive the resources they need to continue their vital role in educating underrepresented populations and closing educational, economic, and health gaps in society. Under Baskerville's guidance, NAFEO has worked to highlight the critical importance of HBCUs as communiversities that serve not only their student bodies but also the surrounding communities. Her leadership has brought attention to the need for collaboration between HBCUs and other sectors, including tech entrepreneurs, to foster innovation and growth. Furthermore, Baskerville emphasizes the value of leadership grounded in empathy, courage, and vulnerability, inspired by the "Love Leadership" principles of John Hope Bryant. This approach has allowed her to drive significant change, from improving HBCU visibility to securing new corporate and foundation partnerships. To further support and strengthen HBCUs, consider collaborating with NAFEO and engaging with their initiatives. By contributing to these efforts, you can help empower the next generation of leaders and ensure these institutions receive the support they need to thrive. Visit NAFEO's website to explore partnership opportunities and learn more about how you can get involved in advancing the future of HBCUs. We're happy you're here! Like the pod? Visit our website! Start your trial on Simplified. Schedule a consult, get on the mailing list, and learn more about my favorite tools and programs via https://www.yourbrandamplified.com

Dong with Baskerville 04.02.25 | VISLA FM by VISLA

Thank you all for joining us in our government-mandated 2010s Magneto Prison for another episode of Sherlock Says. Your hosts Ansel and Rachael are continuing their coverage of BBC Sherlock Series 2 with episode 2: The Hounds of Baskerville which, while stupid, is much less painful than the last one.It's also where the dumb Mind Palace bit comes from so be ready for that.Content Warning: Suicidal behaviorContact the pod! Linktree at: https://linktr.ee/sherlocksayspod?fbclid=PAAaalIOau9IFlX3ixKFo3lsvmq6U1pYn8m3cf7N6aOqkqUGCljCO0R00KZ3E

Hoy analizamos el futuro, presente y orígenes de la guerra de Ucrania. La llegada de Donald Trump a la Casa Blanca ha transformado radicalmente el escenario. El bloque de apoyo a Ucrania, formado por los Estados Unidos y la Unión Europea, parece haberse roto y la estrategia de unos y otros haberse separado completamente. Trump apuesta por llegar a un acuerdo de paz directamente con Rusia, sin contar con los europeos y apenas con los ucranianos, a los que les ha ofrecido un aparentemente exigente acuerdo sobre sus materias primas y tierras raras. Mientras tanto, la Unión Europea intenta generar algún tipo de plan de acción como respuesta a las demandas de la Casa Blanca de aumentar su gasto militar, la amenaza de los aranceles y la humillación de quedarse fuera de las negociaciones de paz. Y, mientras tanto, en la propia Ucrania, Rusia continúa avanzando mientras el ejército ucraniano aguanta a duras penas. ¿Qué puede pasar en Ucrania? Con Antonio Rosenthal y Guillermo de Baskerville. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Thursday, February 27 on Urban Forum Northwest:*Dr. Lezli Baskerville, president and CEO, National Association For Equal Opportunity in Higher Education (NAFEO) comments on the cuts in early childhood education funds that prepare her students to excel once they are college bound. And comment on any adverse effect that the current administration's policies are having on colleges and universities that NAFEO refer students too.*Attorney Yohannes Sium represents the retired Seattle Black Firefighters seeking to retain their interest in property that they purchased in the 1970's. He will be joined by Clarence Williams, president, Northwest Association of Retired Black Firefighters and a plaintiff in the court action and Roberto Jourdan, past president, Seattle Black Firefighters Association.*Elmer Dixon, Co Founder, Seattle Black Panther Party comments on the Seattle Black Panther Party Interpretive Center. The project is divided into three phases and he will comment on phase one which is the Metropole site at 423 2nd Avenue that will include a 1500-square-foot first floor anchor site.* Barney Hilliard is a Seattle Music Legend dating back to Garfield High School in Seattle where he played saxophone in the young Dave Lewis Combo that was in heavy demand. Barney will be featured on KING 5 TV Seattle Facing Race Segment,The History of Jazz on Jackson Street on Friday, February 28 at 6:30 pm & 11:30 pm.Urban Forum Northwest streams live at www.1150kknw.com. Visit us at www.urbanforumnw.com for archived programs and relevant information. Like us on facebook. X@Eddie_Rye. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Thursday, February 27 on Urban Forum Northwest: *Dr. Lezli Baskerville, president and CEO, National Association For Equal Opportunity in Higher Education (NAFEO) comments on the cuts in early childhood education funds that prepare her students to excel once they are college bound. And comment on any adverse effect that the current administration's policies are having on colleges and universities that NAFEO refer students too. *Attorney Yohannes Sium represents the retired Seattle Black Firefighters seeking to retain their interest in property that they purchased in the 1970's. He will be joined by Clarence Williams, president, Northwest Association of Retired Black Firefighters and a plaintiff in the court action and Roberto Jourdan, past president, Seattle Black Firefighters Association. *Elmer Dixon, Co Founder, Seattle Black Panther Party comments on the Seattle Black Panther Party Interpretive Center. The project is divided into three phases and he will comment on phase one which is the Metropole site at 423 2nd Avenue that will include a 1500-square-foot first floor anchor site. * Barney Hilliard is a Seattle Music Legend dating back to Garfield High School in Seattle where he played saxophone in the young Dave Lewis Combo that was in heavy demand. Barney will be featured on KING 5 TV Seattle Facing Race Segment,The History of Jazz on Jackson Street on Friday, February 28 at 6:30 pm & 11:30 pm. Urban Forum Northwest streams live at www.1150kknw.com. Visit us at www.urbanforumnw.com for archived programs and relevant information. Like us on facebook. X@Eddie_Rye. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hace ya más de 170 años que nació el personaje del detective más conocido de la historia, Sherlock Holmes, en una historia del médico Arthur Conan Doyle, publicada en 1887 e ilustrada por su propio padre, que había sido trasladado de un centro de recuperación de alcohólicos a una residencia psiquiátrica. Es en este libro, "Estudio en Escarlata", que Holmes dice que "el cerebro de un hombre al principio es como un pequeño desván vací­o que cada cual va amueblando como elige". La habilidad consiste en "no guardar más que los útiles que puedan ayudarle a hacer su trabajo". Nacido en una familia católica de origen irlandés, Doyle (1859-1930) se crí­a en Edimburgo. Su padre trabajaba de funcionario en la oficina escocesa de obras públicas, a la vez que hací­a ilustraciones de libros -entre ellos el famoso "Progreso del Peregrino" del predicador bautista John Bunyan o "La vida y sorprendentes aventuras de Robinson Crusoe" del presbiteriano Daniel Defoe-, para mantener a sus nueve hijos. Cuando aumentan los problemas del padre con el alcohol, Doyle es mandado interno a un colegio. El último año lo hace en una escuela jesuita de Austria, donde renuncia a su fe católica. Doyle estudió medicina en Edimburgo con el famoso doctor Bell, autor de un manual de operaciones quirúrgicas, pero también inspirador de Holmes. Dice que "sabí­a más del paciente con unas cuantas miradas rápidas, que con cualquier pregunta". Tras servir como médico en un ballenero, navega a África, donde conoce la brutalidad del tráfico de esclavos en el Congo, que luego denunciarí­a. Al regresar a Inglaterra, tiene su primer contacto con la teosofí­a, poco antes de casarse con una viuda que era paciente suya. Tras el nacimiento de su primera hija, Doyle se traslada con su familia a Londres para trabajar de oculista, pero enseguida se dedica profesionalmente a la literatura. En este programa de radio, "Al Trasluz", escuchamos fragmentos de su libro más conocido, "El sabueso de los Baskerville" (1902), leído por Eugenio Barona y algunas escenas de la película de la Hammer por Terence Fisher en 1959, que convierte a Peter Cushing en la figura canónica del detective en el cine. Los comentarios de José de Segovia son sobre el fondo la banda sonora original de la versión televisiva por Michael J. Lewis en 1983. La composición de la cantautora británica nacida en Alemania de madre malaya y padre de Fiyi, Tanita Tikaram (Twist In My Sobriety 1988) aparece en la reciente adaptación que hizo para la BBC, Benedict Cumberbatch. Y el tema de la pelirroja canadiense de ascendencia escocesa e irlandesa, Loreena McKennitt (The Mummer Dance 1997) está en la película "Fotografiando hadas" (1987), que escuchamos una escena en la que aparece Doyle. El diseño sonoro y la dirección técnica es de Daniel Panduro.

Ewig durch Social Media scrollen und sich mit anderen vergleichen? Viele Menschen bemerken, dass sie erschreckend wenig Kontrolle darüber haben, wie viel Zeit sie auf Social Media verbringen. Leon und Atze besprechen, woran das liegt und ob Social Media so schlimm ist, wie immer behauptet wird. Außerdem geben sie Tipps, wie man das Smartphone wenigstens ab und zu mal zur Seite legen kann. Leon & Atze Start ins heutige Thema: 08:46 min. Instagram: https://www.instagram.com/leonwindscheid/ https://www.instagram.com/atzeschroeder_offiziell/ Mehr zu unseren Werbepartnern findet ihr hier: https://linktr.ee/betreutesfuehlen Buchempfehlung: Die Klavierspielerin von Elfriede Jelinek Zehn Gründe, warum du deinen Social Media Account sofort löschen musst von Jaron Lanier Empfehlung: https://www.instagram.com/buchantiquariat_willbrand/?hl=de Quellen in chronologischer Reihenfolge Spektrum der Wissenschaft. Lexikon der Neurowissenschaft: Dopamin. https://www.spektrum.de/lexikon/neurowissenschaft/dopamin/2959 Baskerville, T. A., & Douglas, A. J. (2010). Dopamine and oxytocin interactions underlying behaviors: potential contributions to behavioral disorders. CNS Neuroscience & Therapeutics, 16(3), e92-e123. https://doi.org/10.1111/j.1755-5949.2010.00154.x Wise, R. A. (2004). Dopamine, learning and motivation. Nature Reviews Neuroscience, 5(6), 483-494. https://doi.org/10.1038/nrn1406 Memorial Museum-estate of academician I. P. Pavlov. http://en.pavlovmuseum.ru/photos Sapolsky, R. M. (2017). Behave: the Biology of Humans at Our Best and Worst. Penguin Press. Fiorillo et al. (2003). Discrete coding of reward probability and uncertainty by dopamine neurons. Science.https://www.science.org/doi/abs/10.1126/science.1077349 Burkhard, P., & Rueegg, J. (2023) Warum wir den sozialen Netzwerken nicht widerstehen können. Neue Zürcher Zeitung. https://www.nzz.ch/technologie/warum-wir-den-sozialen-netzwerken-nicht-widerstehen-koennen-ld.1733551 Miltenberger, R. G. (2016). Behavior modification: Principles and procedures. Cengage Learning. Helle, M., & Helle, M. (2019). Psychotherapie: Von den Anfängen bis heute. Psychotherapie, 1-5. Kritik an Body Positivity: Körpergewicht: „Body Neutrality“ bevorzugt https://www.aerzteblatt.de/archiv/koerpergewicht-body-neutrality-bevorzugt-531249bd-9df5-47d2-ba93-3a59f1a1ef19 Haidt, J. (2024). The anxious generation: How the great rewiring of childhood is causing an epidemic of mental illness. Random House. Universität Würzburg. Generation Angst: Machen soziale Medien die Jugend psychisch krank? https://www.uni-wuerzburg.de/en/news-and-events/news/detail/news/generation-angst-thesenpapier/ Cunningham, S., Hudson, C. C., & Harkness, K. (2021). Social media and depression symptoms: a meta-analysis. Research on child and adolescent psychopathology, 49, 241-253. https://link.springer.com/article/10.1007/S10802-020-00715-7 Appel, M., Marker, C., & Gnambs, T. (2020). Are social media ruining our lives? A review of meta-analytic evidence. Review of General Psychology, 24(1), 60-74. https://journals.sagepub.com/doi/abs/10.1177/1089268019880891?journalCode=rgpa Marker, C., Gnambs, T., & Appel, M. (2018). Active on Facebook and failing at school? Meta-analytic findings on the relation- ship between online social networking activities and academic achievement. Educational Psychology Review, 30, 651-677. https://link.springer.com/article/10.1007/s10648-017-9430-6 Orben, A., & Przybylski, A. K. (2019). The association between adolescent well-being and digital technology use. Nature human behaviour, 3(2), 173-182. https://www.nature.com/articles/s41562-018-0506-1 Ivie, E. J., Pettitt, A., Moses, L. J., & Allen, N. B. (2020). A meta-analysis of the association between adolescent social media use and depressive symptoms. Journal of Affective Disorders, 275, 165-174. https://www.sciencedirect.com/science/article/abs/pii/S0165032720323727 Redaktion: Dr. Jan Rudloff Produktion: Murmel Productions

Episode transcript [Music] Welcome to Food Safety in a Minute. I'm Susie Craig. This is National Black History Month. According to the USDA's 2022 Census of Agriculture, there are 42,000 farmers in the United States who identify as Black, either alone or in combination with another race. They represent 1.2 per cent of our country's producers. This week, our podcast recognizes John W. Boyd, Jr. John is a fourth-generation farmer in Baskerville, Virginia. He is the founder and president of the National Black Farmers Association, a non-profit organization representing African American farmers and their families. The Association provides advocacy and education including agricultural training and technical help for Black and other small farmers. Learn more by visiting the National Black Farmers Association. This is Susie Craig from Washington State University Extension. [Music] Resources International Dairy Foods Association. Black Farmers Today: Where We Are Not? USDA Census of Agriculture Breaks it Down. Accessed online 1/8/25. https://www.idfa.org/news/this-black-history-month-idfa-celebrates-the-black-americans-who-advanced-the-food-system-and-u-s-dairy. National Black Farmers Association. Accessed online 1/7/25. https://www.blackfarmers.org.

This week on Sherlock Says, your hosts Rachael and Ansel are joined by... oops, there was a scheduling misadventure and they're joined by nobody! So it's up to your fearless hosts to conquer the first Hound adaptation - the 1914 silent German film Der Hund von Baskerville - on their own! Much like Holmes is in this movie because Watson just doesn't come to the moor for some reason. Weird.NOTE: There's a buzzing noise throughout this one, apologies if that reduces your enjoyment of the episode!Contact the pod! Linktree at: https://linktr.ee/sherlocksayspod?fbclid=PAAaalIOau9IFlX3ixKFo3lsvmq6U1pYn8m3cf7N6aOqkqUGCljCO0R00KZ3E

Back to back webtoons? Well I never! This time it's Revenge of the Baskerville Bloodhound, a series that has nothing really to do with Sherlock Holmes or bloodhounds. But it is a, and stop me if you've heard this before, power trip fantasy series with art by Redice Studio! Was it another regression for this well worn genre, or could this count itself among the Solo Leveling's of the world? ~ Welcome to That Time I Started A Podcast To Read Trash Manga With My Friends And Actually Most Of Them Were Trash But Some Of Them Weren't! Or The Trash Manga Friends Podcast, for short. Each fortnight, our trio of Sean, Mike and Phil read the first two volumes (or equivalent) of a manga, webtoon, manhua or manhwa, analysing every little detail to discuss what's good, what's bad, and what's trash. And believe us, half a decade in, there's a lot of trash to discuss. So come listen to our book club slash neverending existential nightmare! ~ Follow us on social media! Links to all platforms on our site - https://trashmangafriends.carrd.co/ Sean, foreeeeveeeer host, is on Bluesky & Twitch - https://bsky.app/profile/slazo.bsky.social ~ https://www.twitch.tv/slazoking Mike, speedrunner and streamer extraordinaire, is everywhere @Bersekrer - https://bersekrer.carrd.co/ Phil, arbiter of trash, is on Twitter @PheNaxKian - https://twitter.com/PheNaxKian ~ Support the official release! Revenge of the Baskerville Bloodhound is licensed by Tapas - https://tapas.io/series/revenge-of-the-baskerville-bloodhound/info

The Top 5 at 5:00 Bob Baskerville sits in studio to talk Vols basketball Looking forward to the Auburn game and interesting quotes from Barnes today

The Top 5 at 5:00 Richard, Roberto, and Bob Baskerville call in to talk Natty and Vols loss Is Timothee Chalamet too talented?

Co-creators/executive producers Steven Moffat and Mark Gatiss, producer Sue Vertue, and actor Russell Tovey

A Retrospection Now that the culprit has been revealed, one would think that the Baskerville case has been mostly laid to rest, but Dr. Watson has a few lingering questions for his companion, Sherlock Holmes. Join them as Holmes reflects upon the case, providing his final insights into the case of the mysterious and murderous hound on the moor. Just in time for Christmas, the case is tied up in a bow, and ready for you to take into another night of restorative and relaxing sleep. ----- Welcome to the Sherlock Holmes Bedtime Stories podcast. Each episode is a section of a classic Sherlock Holmes story, read in soothing tones and set to calming music to help you fall asleep.

Bishop Jennifer speaks of Advent and details.

The Hound of the Baskervilles is the third of the four crime novels written  by British writer Arthur Conan Doyle featuring the detective Sherlock Holmes. Originally serialized in The Strand Magazine from August 1901 to April 1902, it is set largely in Dartmoor, Devon, in England's West Country and follows Holmes and Watson investigating the legend of a fearsome, diabolical hound of supernatural origin. This was the first appearance of Holmes since his apparent death in "The Final Problem", and the success of The Hound of the Baskervilles led to the character's eventual revival. One of the most famous stories ever written, in 2003, the book was listed as number 128 of 200 on the BBC's  poll of the UK's "best-loved novel". Fun Facts Bertram Fletcher Robinson was a writer who was a friend of Doyle's. Shortly after his return from the Boer War, Robinson invited Doyle to visit him at Ippleton in Devonshire. Supposedly, Robinson had been working on a story about the moor based on a 17th century legend with a demon hound. Doyle who had killed off Sherlock Holmes in “The Final Problem” was faced with a public outcry to produce more Holmes stories and quickly. There is speculation that Doyle may have tried to adapt Robinson's story into a tale of Sherlock Holmes and that would explain why the great detective appears so little in the story. In the late Fifties, Doyle's son responded to such charges by stating: “Fletcher Robinson wrote not one word of the story. He refused my father's offer to collaborate and retired at an early stage of the project.” What all the sources agree on is that Doyle did indeed take a coach ride with Robinson over the moor to get the atmosphere of the place while Robinson recounted the story of Sir Richard Cabell, Lord of the Manor of Brooke. Lord Cabell was a man of well known evil repute. He was a very jealous man and one night he viciously accused his wife of having an affair. Lady Cabell denied it. Enraged, Cabell beat her mercilessly. Somehow, she was able to break away from him and ran from the house, hoping to escape in the surrounding moors. The moors were a cold, desolate place. Lord Cabell caught up to her and in his enraged state killed her with one of his hunting knives. Suddenly, a huge hound appeared. It was Lady Cabell's own faithful dog and it had followed the couple onto the moors. Seeing his mistress killed, the hound savagely attacked Cabell and after a fierce struggle, slaughtered the evil man. However, the hound itself had been fatally wounded by Lord Cabell's knife and in the morning the villagers found the poor animal lying dead beside his slain mistress. According to local legend, the ghost of Lady Cabell's hound still roams the moors on the nights of the full moon, howling mournfully for its dead mistress. Another legend claims that on the night of Lord Cabell's death, black hounds breathing fire and smoke raced over nearby Dartmoor and howled around his manor house. Lord Cabell's death took place in 1677. A small pagoda-like building called “The Sepulchre” was put over his grave to prevent him from returning to cause even more evil. “It is said that he will gnaw your finger if you venture to insert it in the keyhole of the locked door,” wrote the Reverend Sabine Baring-Gould. --- Support this podcast: https://podcasters.spotify.com/pod/show/ang189/support

The Light Upon the Moor [Second Report of Dr. Watson] Watson's dispatches to Holmes reveal more details as he deepens his involvement in the lives of the characters on the moor. Sir Henry and Miss Stapleton's relationship hits an obstacle, and the truth of the butler Barrymore's suspicious behavior is revealed. Moreover, Watson spots another shadowy figure, and the howl of the hound still haunts the moor. The truth of the Baskerville murder still seems out of reach, but Watson is confident that he is steadily approaching a conclusion. Let his latest report carry your mind away from the day and into another night of deep and peaceful sleep. ----- Welcome to the Sherlock Holmes Bedtime Stories podcast. Each episode is a section of a classic Sherlock Holmes story, read in soothing tones and set to calming music to help you fall asleep.

For this second episode of our Friendsgiving series, we welcome back Etta Goodridge (of previous episodes 35: Legally Blonde and 79: Wet Hot American Summer) to travel back in time to the Middle Ages to solve a monastery mystery with Sean Connery and Christian Slater in The Name of the Rose! We discuss the connections between Connery's William of Baskerville and greatest of all literary detectives Sherlock Holmes, references to the seven deadly sins, F. Murray Abraham's chilling performance as evil Inquisitor Bernardo Gui, Ron Perlman's full commitment to the disgusting role of Salvatore, the accuracy of the history and philosophy underpinning the screenplay, and what exactly was the deal with medieval monk hairdos. Meet us in the secret library for a great discussion!

The Biography of a Typeface. Get all the news you need by listening to WBZ NewsRadio 1030 on the free #iHeartRadio app! Or ask Alexa to play WBZ NewsRadio on #iHeartRadio.

 The Hound of the Baskervilles by Sir Arthur Conan Doyle Condensed Version by LitBits™ Audio The Hound of the Baskervilles was written by Sir Arthur Conan Doyle and first serialized in The Strand Magazine in 1901–1902 before being published as a novel in 1902. It marked the return of Sherlock Holmes after Conan Doyle famously killed off the detective in an earlier story, much to the dismay of his fans. The book was an immediate success, quickly establishing itself as a classic within the detective genre and revitalizing public fascination with Holmes and Watson.Over the years, The Hound of the Baskervilles has sold millions of copies worldwide, solidifying its place as one of the best-loved works in detective fiction. It has been translated into numerous languages, and its enduring appeal has led to countless adaptations in film, television, radio, and stage. Today, The Hound of the Baskervilles remains not only a hallmark of Conan Doyle's work but also a foundational story in the mystery and suspense genre.The Curse of the BaskervillesIn the heart of London, on a foggy evening, Dr. John Watson was reflecting on recent cases with his companion and world-renowned detective, Sherlock Holmes, when an unexpected visitor arrived: Dr. James Mortimer. Dr. Mortimer, a tall, nervous man, presented Holmes with a perplexing tale and an ancient manuscript—an old family legend about the Baskerville family, dating back hundreds of years.The story went that Hugo Baskerville, a reckless ancestor, had met a dark fate. In his pursuit of a farmer's daughter across the moors, Hugo was said to have unleashed a supernatural hound, a creature so fierce it tore him to shreds, leaving a curse on his bloodline. Generations later, Sir Charles Baskerville, the latest family heir, had been found dead at his Dartmoor estate, his face frozen in terror. Nearby, on the damp ground, were paw prints—far too large for any ordinary dog.Dr. Mortimer insisted there was something unnatural about Sir Charles's death, and now, with Sir Henry Baskerville, the last living Baskerville, arriving in England to claim his inheritance, he feared for the young man's life.Holmes, intrigued by the mix of folklore and reality, decided they would protect Sir Henry and uncover the truth. Watson would accompany Sir Henry to Baskerville Hall while Holmes attended to other matters in London but remained a silent observer, ready to intervene when needed.Meeting Sir HenryThe next morning, Sir Henry Baskerville arrived at Holmes's Baker Street office—a sturdy, practical man with a hint of the rugged life he'd lived in Canada. But even he couldn't brush off the unease he felt. Since his arrival in London, strange things had been happening. That very morning, he had found a threatening letter waiting at his hotel, the words clipped from a newspaper: “As you value your life or your reason, keep away from the moor.”Holmes examined the letter with keen interest, his eyes narrowing. “Whoever sent this didn't want their handwriting recognized,” he noted, “and they're warning you for a reason. Someone close by, but hidden.”Just as Holmes began piecing together the mystery, Sir Henry reported yet another oddity—one of his new boots had gone missing, only to turn up again after a different boot was taken. It seemed like small change, but to Holmes, it hinted at an unsettling obsession.Despite these warnings, Sir Henry was determined to go to Baskerville Hall. Holmes agreed but insisted that Dr. Watson accompany him as both a protector and his eyes on the ground. Watson packed his bag, and within the hour, he and Sir Henry were on the train to Dartmoor, where Baskerville Hall awaited—along with a sense of dread that even Watson couldn't ignore.As they traveled, Watson couldn't shake the shadow that seemed to hang over Sir Henry. Was it just the fear of an old legend, or was something far more tangible stalking him?As Watson and Sir Henry arrived at Baskerville Hall, the weight of the legend settled over them. The Hall itself was vast and somber, with heavy stone walls and dark corners, a mansion built to withstand both weather and time. From the first night, Watson felt as though they were being watched, the ancient walls carrying whispers of the past.The surrounding moorland stretched out for miles, a haunting, mist-shrouded expanse where the howls of distant creatures seemed to echo. The moor had its own kind of emptiness, both beautiful and menacing, and locals were reluctant to speak about the strange sights they claimed to have seen there—unearthly lights, ominous shapes. One night, Watson even thought he saw a faint glow on the moor, flickering like a distant lantern before disappearing into the darkness.Adding to the mystery were the curious residents of the estate: the reserved housekeeper, Mrs. Barrymore, and her husband, who was known to wander the halls at odd hours. Late one night, Watson caught a glimpse of Barrymore holding a candle up to a window, his face filled with an intensity Watson couldn't quite place. When questioned, Barrymore gave vague answers, his evasiveness only fueling Watson's suspicions.Watson couldn't shake the feeling that there were hidden motives and secrets lurking around every corner. Even Sir Henry, usually confident, had become wary and restless. Every day, Watson wrote letters to Holmes, describing each detail, every unsettling event, hoping Holmes would see the pattern Watson couldn't.One day, Watson met a recluse living on the moor—a shadowy figure named Stapleton and his sister, Beryl. Stapleton was strangely intense, his fascination with the moor almost obsessive. He warned Watson to stay away from certain areas, especially Grimpen Mire, a treacherous bog that had claimed the lives of unwary travelers and livestock alike. Beryl, however, was different—nervous and guarded, and when she had a moment alone with Watson, she whispered, “Get Sir Henry away from here… he's in terrible danger.”Watson's sense of urgency grew, as did the mystery. Was there a threat out on the moor, or was it all an illusion, a combination of legends and fear? He continued his watch, feeling the tension tighten, and hoping Holmes would soon arrive to help unravel the truth.The Hound RevealedOne dark, fog-laden night, Watson's suspicions came to a head. After hearing from a local about strange sightings near Grimpen Mire, he decided to investigate. As he reached the edge of the bog, he spotted something moving in the shadows—a figure he recognized immediately: Sherlock Holmes.Holmes had been on the moor all along, keeping a careful watch. He explained that he had stayed undercover to observe Stapleton, the man Watson had met on the moor. Holmes suspected that Stapleton was more than just a curious naturalist—he was, in fact, a hidden Baskerville, with a secret claim to the family estate. Driven by greed, Stapleton had been orchestrating a terrifying plot to eliminate Sir Henry and take the inheritance for himself.Holmes revealed that Stapleton had used a massive, fearsome hound to mimic the legendary Baskerville curse, exploiting the family's superstitions to create a monster of his own making. The hound had been painted with a phosphorescent substance, causing it to glow eerily in the dark, giving it an otherworldly appearance.Holmes and Watson quickly put a plan in place to catch Stapleton red-handed. They arranged for Sir Henry to walk across the moor alone, knowing the villain wouldn't resist one final attempt. As Sir Henry walked through the mist, a low growl echoed across the landscape, followed by the rapid padding of enormous paws.Then, through the thick fog, the hound appeared—a massive beast, its eyes glowing an unholy green, and foam dripping from its jaws. It charged at Sir Henry, who staggered back in terror. Holmes and Watson sprang into action, firing their guns at the creature. With a final shot, the hound collapsed, revealing itself as a mere dog, albeit a monstrous one, manipulated to incite fear.With the creature defeated, they turned their attention to Stapleton, who, realizing his plot had failed, fled into the treacherous Grimpen Mire. In his desperation to escape, he wandered into the bog and was swallowed up by the mire, his fate as dark and hidden as his intentions had been.With the mystery solved, Holmes and Watson returned to London, leaving Baskerville Hall safe for Sir Henry. The case of the Baskerville hound had been an elaborate ruse, rooted in deception rather than the supernatural, yet just as chilling. Holmes closed his notes on the case with one final thought: "Legends can haunt, but it's often those with something to gain who make them real."The Enduring Appeal of The Hound of the BaskervillesSince its publication, The Hound of the Baskervilles has captivated readers with its clever blend of detective mystery, Gothic atmosphere, and psychological suspense. Part of its timeless appeal lies in the way

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Esta es una reunión fantástica con: Sherlock Holmes, Christopher Lee, Peter Cushing y la productora Hammer. Todo esto nos trae la maravillosa El perro de Baskerville. Vamos a repasarla y a disfrutarla con sus anécdotas y curiosidades. Ven con nosotros. Con -Javier Iborra y Luis Martínez Vallés Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Keeping Kress's seat warm Bob Baskerville recaps his interview with Coach Rick Barnes TV deals with CBS/TNT/the NBA

Wood, Barrel, and Time: The Art of Crafting World-Class Barrel-Aged Beers Unveil the Secrets of Mastering Barrel-Aged Beer Wood, Barrel, and Time is not just another brewing guide; it's a journey into the heart of one of the most revered and mysterious processes in the world of craft beer: barrel aging. This book is for the dreamers, the doers, and the dedicated brewers who believe that great beer is more than just a beverage—it's an art form shaped by patience, innovation, and an intimate connection to tradition. Whether you're an experienced brewer looking to elevate your craft or a passionate enthusiast eager to understand the magic behind every barrel-aged pour, Wood, Barrel, and Time is your definitive guide. Join us for a conversation with Marcus Baskerville to learn more about his book and what's been keeping him busy. Marcus Baskerville is the co-founder and former director of Brewing for Weathered Souls Brewing Company in San Antonio, Texas. Marcus also serves as President of the National Black Brewers association. Renowned for his innovative brewing techniques and exceptional beers, Baskerville has led the brewery to national acclaim. His standout creations include award-winning barrel-aged stouts and diverse IPAs. Baskerville is also the creator of the Black is Beautiful initiative, a global collaboration among breweries to support racial justice causes that has raised over $6.5 million. His dedication to quality and community activism has positioned him as a leading figure in the craft beer industry, earning nominations and accolades, including a James Beard Award semi finalist nomination and 40 under 40 Wine Enthusiast Top Taste Makers. Grab you copy: https://www.amazon.com/Wood-Barrel-Time-Art-Aging/dp/B0DGQJ6S4D Join us in-person for CBP Connects Half workshop, half networking San Diego, CA | December 10-12, 2024 Grab your spot now at https://cbpconnects.com/

Three Broken Threads Sherlock Holmes has three leads on the Baskerville case, and he is confident that one will show him the right path to follow to learn the truth. But over the course of the evening, each of Holmes's threads gets broken - from the cutout of the Times, to the mysterious man in the cab, to the cab driver himself. None are able to give him the information he dearly needs. That means that it is up to Dr. Watson, who is set to accompany Sir Henry Baskerville up to Devonshire to learn more about the secrets of Baskerville Hall. Holmes's threads may be broken, but his adventures will help you spin your own thread into another night of peaceful and restorative slumber. ----- Welcome to the Sherlock Holmes Bedtime Stories podcast. Each episode is a section of a classic Sherlock Holmes story, read in soothing tones and set to calming music to help you fall asleep.

We were very anxious to talk about Sherlock & Co.'s new adaptation of The Sign of the Four starting up, but Sherlockiana had one of its rare controversies that had to be mentioned first. And it seems to be Baskerville season!

Joining the show from Romania, Dr. Stephen Baskerville breaks down how the right has lost America. In his new book, "Who Lost America?: Why the United States Went 'Communist' and What to Do About It," Baskerville explains what went wrong and gives examples of what ordinary citizens can do to regain America. ______________________ Discover Bear Woznick Deep Adventure Ministries: http://bit.ly/BearWoznick NEWEST BOOK "12 Rules for Manliness | Where Have All the Cowboys Gone" on Amazon or Bear's Online Store https://my-site-100622-104377.square.site/ DONATE TO THE CAUSE: https://www.paypal.com/donate?hosted_button_id=S7P6JBHNKJTMC Bear's School of Manliness: https://bit.ly/BearsSchoolofManliness

Sir Henry Baskerville The heir to Baskerville Hall, Sir Henry Baskerville, has arrived at Baker Street and quickly realizes he's gotten into a situation that is more than he bargained for. A mysterious note and a missing boot already indicate that something sinister is afoot. Luckily Holmes is on the case, and even though his attempt to catch the man who's following Baskerville is thwarted, he has several threads he can follow to hopefully lead him to the truth. As the investigation begins, let the journey of the case take you on your own journey into a night of deep and relaxing sleep. ----- Welcome to the Sherlock Holmes Bedtime Stories podcast. Each episode is a section of a classic Sherlock Holmes story, read in soothing tones and set to calming music to help you fall asleep.

Conceptual papers that offer new theories are hard to write and even harder to publish. You do not have empirical data to back up your arguments, which makes the papers easy to reject in the review cycle. We are also typically not well trained in theorizing, and there isn't even a clear process to theorizing we could learn or follow. Does that mean that we shouldn't even try to write theory papers? We ponder these questions, figure out what is so hard in writing conceptual papers – and share a few tricks that might help if you still wanted to write such a paper.  References Berente, N., Gu, B., Recker, J., & Santhanam, R. (2021). Managing Artificial Intelligence. MIS Quarterly, 45(3), 1433-1450. Glaser, B. G., & Strauss, A. L. (1967). The Discovery of Grounded Theory: Strategies for Qualitative Research. Aldine Publishing Company. Watson, R. T., Boudreau, M.-C., & Chen, A. J. (2010). Information Systems and Environmentally Sustainable Development:  Energy Informatics and New Directions for the IS Community. MIS Quarterly, 34(1), 23-38. Lee, A. S., & Baskerville, R. (2003). Generalizing Generalizability in Information Systems Research. Information Systems Research, 14(3), 221-243. Tsang, E. W. K., & Williams, J. N. (2012). Generalization and Induction: Misconceptions, Clarifications, and a Classification of Induction. MIS Quarterly, 36(3), 729-748. Yoo, Y., Henfridsson, O., & Lyytinen, K. (2010). The New Organizing Logic of Digital Innovation: An Agenda for Information Systems Research. Information Systems Research, 21(4), 724-735. Yoo, Y. (2010). Computing in Everyday Life: A Call for Research on Experiential Computing. MIS Quarterly, 34(2), 213-231. Merleau-Ponty, M. (1962). Phenomenology of Perception Routledge. Baldwin, C. Y., & Clark, K. B. (2000). Design Rules, Volume 1: The Power of Modularity. MIT Press. Weick, K. E. (1989). Theory Construction as Disciplined Imagination. Academy of Management Review, 14(4), 516-531. Hevner, A. R., March, S. T., Park, J., & Ram, S. (2004). Design Science in Information Systems Research. MIS Quarterly, 28(1), 75-105. Sætre, A. S., & van de Ven, A. H. (2021). Generating Theory by Abduction. Academy of Management Review, 46(4), 684-701. Kahneman, D., & Tversky, A. (1979). Prospect Theory: An Analysis of Decision under Risk. Econometrica, 47(2), 263-291. Farjoun, M. (2010). Beyond Dualism: Stability and Change As a Duality. Academy of Management Review, 35(2), 202-225. Recker, J., & Green, P. (2019). How do Individuals Interpret Multiple Conceptual Models? A Theory of Combined Ontological Completeness and Overlap. Journal of the Association for Information Systems, 20(8), 1210-1241. Jabbari, M., Recker, J., Green, P., & Werder, K. (2022). How Do Individuals Understand Multiple Conceptual Modeling Scripts? Journal of the Association for Information Systems, 23(4), 1037-1070. Cornelissen, J. P. (2017). Editor's Comments: Developing Propositions, a Process Model, or a Typology? Addressing the Challenges of Writing Theory Without a Boilerplate. Academy of Management Review, 42(1), 1-9. Recker, J., Lukyanenko, R., Jabbari, M., Samuel, B. M., & Castellanos, A. (2021). From Representation to Mediation: A New Agenda for Conceptual Modeling Research in a Digital World. MIS Quarterly, 45(1), 269-300. Haerem, T., Pentland, B. T., & Miller, K. (2015). Task Complexity: Extending a Core Concept. Academy of Management Review, 40(3), 446-460. Kallinikos, J., Aaltonen, A., & Marton, A. (2013). The Ambivalent Ontology of Digital Artifacts. MIS Quarterly, 37(2), 357-370. Ho, S. Y., Recker, J., Tan, C.-W., Vance, A., & Zhang, H. (2023). MISQ Special Issue on Registered Reports. MIS Quarterly, . Simon, H. A. (1990). Bounded Rationality. In J. Eatwell, M. Milgate, & P. Newman (Eds.), Utility and Probability (pp. 15-18). Palgrave Macmillan. James, W. (1890). The Principles of Psychology. Henry Holt and Company. Watson, H. J. (2009). Tutorial: Business Intelligence - Past, Present, and Future. Communications of the Association for Information Systems, 25(39), 487-510.  Baird, A., & Maruping, L. M. (2021). The Next Generation of Research on IS Use: A Theoretical Framework of Delegation to and from Agentic IS Artifacts. MIS Quarterly, 45(1), 315-341.

The Curse of the Baskervilles Holmes and Watson's new client, Dr. James Mortimer, has brought them a tantalizing new case, the murder of Sir Charles Baskerville. They learn of the ancient Baskerville family curse, involving an otherworldly hound that haunts the moors near Baskerville Hall. Though the police inquest into Sir Charles's death did not suggest foul play, there was one crucial fact missing - that next to his body were found the footprints of a giant hound. There's more to this case than meets the eye, and as the plot thickens, let it distract your mind and take you into another night of deep and restful slumber. ----- Welcome to the Sherlock Holmes Bedtime Stories podcast. Each episode is a section of a classic Sherlock Holmes story, read in soothing tones and set to calming music to help you fall asleep.

Sir Arthur Conan Doyle hatte es als Schriftsteller mit seinen Kriminalromanen rund um Sherlock Holmes und Dr. Watson zu Weltruhm gebracht – Figuren, die auch heute noch zugkräftig an Kino- und Streamingkassen wirken. Er selbst ließ Sherlock gegen den erklärten Willen der Fans sterben, um sich, seiner Meinung nach, wichtigeren und besseren literarischen Werken zuzuwenden, die aber den Erfolg von Sherlock nicht erreichten. Und so kam es dann mit der „Hund von Baskerville“ zur Wiederbelebung der Schriftenreihe. Bekannt war der öffentliche Intellektuelle auch durch seine Beschäftigung mit Spiritismus und übernatürlichen Phänomenen. So sammelte er Fotographien, auf denen vermeintliche Feen und Geister festgehalten waren. Im Hamburgischen Correspondenten vom 23. September 1924 steht aber die Autobiographie von Conan Doyle „Memories and Adventures“ im Zentrum, die in dem Jahr erschienen war. Eine Anekdote aus den Erinnerungen über den, heute als Kriegsverbrecher betrachteten britischen Befehlshaber in diversen Kolonialkriegen Herbert Kitchener, die seinen Rassismus und seine Brutalität zeigt, wird in dieser Rezension wiedergegeben. Rosa Leu bringt uns das Leben des Mannes näher, der Sherlock Holmes erfand, aus einer Zeit, in der über schlimmste Kolonialverbrechen ganz selbstverständlich gewitzelt wurde.

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   Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator." There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations. His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. Original run As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar Dick Powell (Audition show in 1948) Charles Russell (February 1949 – January 1950) Edmond O'Brien (February 1950 – September 1952) John Lund (November 1952 – September 1954) Gerald Mohr (Audition show in 1955) Bob Bailey (October 1955 – November 1960) Bob Readick (December 1960 – June 1961) Mandel Kramer (June 1961 – September 1962) Legacy Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 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.   Special thanks to Wikipedia. #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

Dr. Stephen Baskerville's decades-long career has focused largely on family law, masculinity, and the encroachment of government into private citizen's lives, via divorce courts. He's not assessing why America has become "communist" and what we can do to correct that. "Who Lost America" (his latest book) https://a.co/d/8XwNKDj https://www.stephenbaskerville.com https://x.com/DrSBaskerville Support this channel: https://www.paypal.me/benjaminboyce https://cash.app/$benjaminaboyce https://www.buymeacoffee.com/benjaminaboyce --- Support this podcast: https://podcasters.spotify.com/pod/show/calmversations/support

In the heart of the eerie moors, a sinister legend lurks, shrouded in mystery and fear. Join the brilliant Sherlock Holmes and his trusty companion Dr. Watson on a treacherous journey to unravel the chilling secrets of the cursed Baskerville family. Will they conquer the malevolent forces that haunt the night, or will they fall prey to the legendary hound? Find out in Sir Arthur Conan Doyle's gripping tale of suspense and deduction, 'The Hound of the Baskervilles'. This is a corrected version as the previous audio version had glitches in it. Please enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices

We are back with the usual dose of fortnightly folksy academic wisdom sprinkled in with some serious and substantive conversations. We kick this new season off by discussing observations we made at this year's Academy of Management conference in Chicago. We talk about how to get the most out of doctoral and junior faculty consortia, how to pick which session to go to, how papers get reviewed at conferences, which papers tend to get selected for presentation – and how to use your session as a platform to pitch your work and yourself and finish with a crescendo and a mic drop. References Kallinikos, J., Yoo, Y., Baldwin, C., Van Alstyne, M., Tucci, C. L., & Saar-Tsechansky, M. (2024). Perspectives on Digital Innovation. Academy of Management Annual Meeting Proceedings, . Baskerville, R., Kaul, M., & Storey, V. C. (2017). Establishing Reliability in Design Science Research 38th International Conference on Information Systems, Seoul, Korea, . Aaltonen, A., Stelmaszak, M. (2024). Innovating in Data-based Reality: New Perspectives on Data as a Research Object. Academy of Management Professional Development Workshop, August 9, 2024, Chicago, Illinois. Meurer, M. M., Chalmers, D., Recker, J. (2024). Digital Technologies as Catalysts for Entrepreneurial Activities. Academy of Management Professional Development Workshop, August 9, 2024, Chicago, Illinois. Davidsson, P., Recker, J., & von Briel, F. (2020). External Enablement of New Venture Creation: A Framework. Academy of Management Perspectives, 34(3), 311-332.

In the third hour, Dan Bernstein and Laurence Holmes were joined by draft analyst Dane Brugler of The Athletic to discuss his evaluation of Bears rookie quarterback Caleb Williams' performance in his preseason debut against the Bills on Saturday. Brugler also discussed the expectations for rookie receiver Rome Odunze, rookie defensive end Austin Booker, rookie punter Tory Taylor and more. White Sox television analyst Steve Stone then joined the show to discuss his future in the broadcast booth, interim manager Grady Sizemore and more. Later, Bernstein and Holmes were joined by Bears linebacker Micah Baskerville, to whom they presented their Ken Mastrole Award for his outstanding performance in the team's 33-6 win over the Bills in a preseason game Saturday. Baskerville also discussed the team being featured on HBO's "Hard Knocks" and more.

Dan Bernstein and Laurence Holmes were joined by Bears linebacker Micah Baskerville, , to whom they presented their Ken Mastrole Award for his outstanding performance in the team's 33-6 win over the Bills in their preseason game on Saturday. Baskerville also discussed the team being featured on HBO's "Hard Knocks" and more.

Not Writing, Dying To Self, Bad Advice, Breaking Animal News BONUS CONTENT: Bad Advice Follow-up   Quotes: “My desires don't have to rule me.” “Everything Jesus tells us is for our own good.” “I'm miserable. Now there's TWO of us!” “Are you trained to work on a giraffe?”

Book Vs. Movie: The Hound of the Baskervilles The 1902 Book vs. The 2012 BBC One ProductionThe Margos are concluding “Mysteries in May” with one of the greatest mystery writers of all time, Sir Arthur Conan Doyle, and his most famous creation, Sherlock Holmes. The Hound of the Baskervilles is the third of the four crime novels serialized in The Strand Magazine from August 1901 to April 1902. It follows Holmes and Watson as they investigate the legend of a fearsome, diabolical hound of supernatural origin. This was the first appearance of Holmes since his apparent death in "The Final Problem," and the success of "The Hound of the Baskervilles" led to the character's eventual revival. The 2012 version is from the BBC One program Sherlock and moves the story to the present day. When it was first broadcast, it received over 10 million viewers.  Which did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:The character of Sherlock Holmes The biggest differences between the1902 story and the 2012 BBC One versionThe 2012 film's cast includes Benedict Cumberbatch (Sherlock Holmes,) Martin Freeman (John Watson,) Russell Tovey (Henry Knight,) Amelia Bullmore (Dr. Stapleton,) Clive Mantle (Dr. Bob Frankland,) Simon Paisley Day (Major Barrymore,) Sasha Behar (Dr. Louise Mortimer, ) and Will Sharpe as Corporal Lyons. Clips used:“Sherlock deduces in the pub”Sherlock: The Hounds of Baskerville 2012 trailer“Holmes picking part Henry Knight.”“Holmes sees the hound.”“Watson trapped”Music by David Arnold. Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Books have been made for over 530 years. That is, they have been created from raw materials– sometimes lovingly, sometimes not–printed, bound, and sold, only then to be read. When we think only of what is written in books, we ignore much of the history of the book. So ubiquitous is the book, so commonplace is the book, that we often neglect it both as a brilliant technology; the product of multiple technologies; and as an art. My guest has written the  story of how books have been made over that long half millennium by focusing on the individuals who have created the different aspects of the book that we now take for granted. It is a history of the physical printed book for a world that is increasing online–but a word which, curiously enough, the sale of ebooks  is down, and that of printed books is up. Adam Smyth is Professor of English literature and the history of the book at Balliol College in the University of Oxford. He is also one of the members of 39 Steps Press, “a small and unusual printing collective” that is housed in an old stables in Elsfield, Oxfordshire. His most recent book is The Book Makers: A History of the Book in 18 Lives, which is the subject of our conversation today.  For Further Investigation Previous conversations that relates to this one are: Episode 251, with Tom Misa, in which he discussed printing as beginning as a "courtly technology"; Episode 271, with Martin Clagget, in which among other things we discussed the marvelous place that Birmingham was in the eighteenth century An introduction to Baskerville's typographical art, with fine examples of the uppercase Q and the lower-case g, presented by A Type Supreme, a website that proclaims itself to be "a love letter to typography". Of course you can get a poster of the Baskerville Q, and I must say that I'm tempted. And Zuzana Licko's beautiful creation, Mrs Eaves Here is Sonnet 126, as printed by 39 Steps Press. Another guest, Kelsey Jackson-Williams who featured in Episode 162, has also experimented with printing. He's a member of the Pathfoot Press at the University of Stirling.

The Drive HR 2 "TV Deals w/ Bob Baskerville" 5.15.24 by Fanrun Radio