Podcasts about Birdy

Hi angels,Welcome back to the overshares podcastThis week we speak with another Duo Hamza and Birdy from Abti Podcast we have the funniest discussion answering juicy scenarios discuss life creating content etc As always send any dilemmas to our email and we'll do our best to answer them: kallyandhodo@gmail.comSupport and followinstagram: @oversharerspodcast@Abtipodcast Hosted on Acast. See acast.com/privacy for more information.

Ein Fest - und so plauschig: wir haben OLLI SCHULZ zu Gast. Und er hat 20 Filme mit dabei, über die wir reden wollen. Denn die haben ihn schwer geprägt. Nachdem wir erst nur über unsere jeweiligen Sendungen kommuniziert haben, kam dann doch ein direkter Kontakt und schließlich eine tolle Folge zustande, in der der Musiker, Entertainer, Podcaster und Unterwasser-Detektiv endlich mal all das loswerden konnte, was er bei den anderen Kollegen sonst nicht loswerden kann. Infolgedessen geht es mit Eddie, Thilo und Schröck unter anderem um Spielbergs DUELL, um POPEYE - DER SEEMANN MIT DEM HARTEN SCHLAG, CAP UND CAPPER oder WESTWORLD. Wir reden über Justizfilme, der 70er und 80er, steigen beim TAXI DRIVER ein und landen kurz bei Scorsese, bevor es in der Zeit zurück geht, damit der TERMINATOR erstmal für alle Actionfilme der Dekade zur Gallionsfigur werden kann, bevor wir noch einmal William Friedkin und seinem LEBEN UND STERBEN IN L.A. huldigen. Und so geht es heiter weiter, wie auch drunter und drüber mit dem TANZ DER TEUFEL, mit NIGHTMARE - MÖRDERISCHE TRÄUME, mit Horror-Ikonen, die auch mal absichtlich ausgelassen werden und DAS DING AUS EINER ANDEREN WELT schaut auch noch mal auf ‘ne Petrischale voll Blut vorbei. Daneben lauschen wir den Geschichten und Erfahrungen eines jungen Filmfans, der in Hamburg groß und filmisch sozialisiert worden ist, der bei Horror-Nächten im Alabama Kino Preise abgeräumt hat und auch schon mal eine Faust für seine Meinung zu Carpenters DIE KLAPPERSCHLANGE einstecken musste. Einer, den das Kino WILD AT HEART gemacht hat, ein ARIZONA JUNIOR von der Waterkant, ein BIRDY, der zum Barden wurde. Ob wir wirklich alle 20 Filme schaffen? Findet es heraus. Es lohnt sich, bei all diesen Erinnerungen aus ONCE UPON A TIME IN HOLLYWOOD. Wir hatten zumindest so viel Spaß, dass Olli noch mal vorbei kommen möchte. Und mindestens ebenso viel Vergnügen wünschen wir Euch nun auch bei diesem Spezial. Frohe Ostern. Rocket Beans wird unterstützt von fritz-kola. Learn more about your ad choices. Visit megaphone.fm/adchoices

SportsDay Insiders Kevin Sherrington, Evan Grant and Birdy the Wonder Dog discuss the state of local sports. [00:27] Evan, aided by his latest canine acquisition, makes a case for Nathan Eovaldi as the Rangers' second-best free agent signing ever, behind only Adrian Beltre. Eovaldi's complete-game, 99-pitch shutout of the Reds stopped the bullpen bleeding after an awful first game in Cincinnati and may have fueled Jack Leiter's excellent performance the next day in another 1-0 win. [24:45] Kevin wonders if the Cowboys ought to trade Micah Parsons after Jerry Jones dissed Parsons' agent at the owners' meetings and said he'd rather pay top dollar and get it right than screw it up. [43:05] And, last but not least, the guys make their title picks for the men's bracket and Kevin tells old Phi Slama Jama stories. Learn more about your ad choices. Visit podcastchoices.com/adchoices

SportsDay Insiders Kevin Sherrington, Evan Grant and Birdy the Wonder Dog discuss the state of local sports. [00:27] Evan, aided by his latest canine acquisition, makes a case for Nathan Eovaldi as the Rangers' second-best free agent signing ever, behind only Adrian Beltre. Eovaldi's complete-game, 99-pitch shutout of the Reds stopped the bullpen bleeding after an awful first game in Cincinnati and may have fueled Jack Leiter's excellent performance the next day in another 1-0 win. [24:45] Kevin wonders if the Cowboys ought to trade Micah Parsons after Jerry Jones dissed Parsons' agent at the owners' meetings and said he'd rather pay top dollar and get it right than screw it up. [43:05] And, last but not least, the guys make their title picks for the men's bracket and Kevin tells old Phi Slama Jama stories. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this episode I'm joined by Grace Lee Chan of Birdy Grey, the direct-to-consumer bridal brand that's shaking up the wedding industry. Grace Lee Chen, co-founder of the brand, shares how she and her best friend Monica Ashauer launched Birdy Grey in 2017, turning a simple idea into a company that hit $80 million in revenue in just a few years. With no outside funding, they bootstrapped the business from the ground up, facing the challenges of a competitive market and the disruption of COVID. Grace walks us through the evolution of the brand, from their early days of fulfilling orders from her living room floor to now expanding into suits and growing rapidly. Make sure to check out Birdy Grey: https://www.birdygrey.com/   Check out my new book on Amazon: https://amzn.to/4kRKGTX   Register for Starting Small Summit 2025: https://betheluniversity.edu/event/starting-small-summit-2025/ Sign up for Starting Small University to join our interviews LIVE and ask questions: https://startingsmallmedia.org/startingsmalluniversity Visit Starting Small Media: https://startingsmallmedia.org/ Subscribe to exclusive Starting Small emails: https://startingsmallmedia.org/newsletter-signup   Follow Starting Small: Instagram: https://www.instagram.com/startingsmallpod/ Facebook: https://www.facebook.com/Startingsmallpod/?modal=admin_todo_tour LinkedIn: http://linkedin.com/in/cameronnagle   

Matthew Modine "is one of the best, most adaptable film actors of his generation," says The New York Times. Modine's iconic portrayals in films such as Alan Parker's BIRDY, Louden Swain in VISION QUEST, Stanley Kubrick's FULL METAL JACKET, and Dr. Martin “Papa” Brenner in Netflix's global phenomenon STRANGER THINGS have cemented his legacy in the entertainment industry. Modine recently starred in the Netflix political thriller series "Zero Day," where he plays the Speaker of the House. If you watch this Cybercrime Magazine video interview with Modine, then you might also call him an expert on the good, the bad, and the ugly that artificial intelligence (AI) brings to society. Our host Sam White dives deep into AI, the Internet, cybercrime, privacy, surveillance, and a whole lot more with Modine. Modine draws parallels between George Orwell's “1984”, the famous dystopian novel and cautionary tale, and what we are living through now in the age of AI. Despite his concerns around AI, Modine touts the benefits of it, namely its potential for sharing medical information during epidemics, helping to feed starving people around the globe, and more. If AI could play a role in taking down the U.S. power grid, then Modine helps us imagine what that might be like. Modine gets personal with Cybercrime Magazine and shares his love for New York City, his experience working with Robert De Niro, and a deepfake song involving George Michael and Wham! This interview may be Modine like you've never seen him before. Visit the Official Matthew Modine Website at https://matthewmodine.com. For more on cybersecurity, visit us at https://cybersecurityventures.com. For all of our podcasts, visit us at https://cybercrime.radio

Amanda McNulty shares a poem to prompt bird-lovers to set up their hummingbird feeders as these lovely little creatures return from their winter retreats.

Jake is going is going on a skiiing holiday. Mum is like a "swan on skiis" and Dad is like a Giraffe on stilts. What could possbily go wrong? And will Jake's best friend Birdy, the black crow, find is way out to the skii resort to help? Check out the Kaboom! Podcast too.

Watch This Episode On YouTubeThis is as close as I've ever been to going Joe Rogan style, four hour interview.I've never talked with someone so willing to discuss the history of cinema (in this case, Taiwanese) than my guest today, Birdy Wei-Ting Hung. She directed the brilliant film, A BRIGHTER SUMMER DAY FOR THE LADY AVENGERS (2024), which screened at Slamdance.In order to make the film, she drew on years of reading history and watching cinema. If you loved school, or even if you didn't, prepare for the best class ever with Birdy.In this episode, we discuss:how she became a subject matter expert on Taiwanese cinema and learned to love horror films;how Edward Young and other filmmakers influenced her film;if a critic can take their own biases out of their judgment on a particular film and whether students of film can see that in others' works;Sean Baker's influence on her type of filmmaking and the bravery to take on subjects like sexual awakening, which is a theme of her film;who she thinks are female directors taking similar steps and her thoughts on labels;what her first screening at Fantastic Fest and in Taiwan was like;why Slamdance? it's her first time at the festival;does she consider herself a California filmmmaker?her work on music videos and what her first feature looks like -- "I'm not one of those people that has to be working on a feature"Birdy's Indie Film Highlights: MAULED BY A DOG (2024) dir. by Sion Owens; THE STAG (2023) dir. by An ChuLinks:Follow Birdy Wei-Ting Hung On InstagramVideo Essay For A BRIGHTER SUMMER DAY FOR THE LADY AVENGERS (2024)Support this podcast at — https://redcircle.com/first-time-go/exclusive-content

Join us as Ocean House owner and author Deborah Goodrich Royce moderates a conversation with New York Times bestselling authors Meghan Riordan Jarvis and Catherine Newman as they discuss their novels End of the Hour and Sandwich.  About Meghan Riordan Jarvis is a podcast host (Grief Is My Side Hustle), two-time TEDx Speaker, and psychotherapist specializing in trauma and grief and loss. After experiencing PTSD following the deaths of both of her parents, Jarvis founded Talking Point Partners to help employers address complex emotions such as grief in the workplace. Jarvis is currently at work on Can Anyone Tell Me Why: 25 Essential Questions About Grief and Loss, which publishes with Sounds True Media in 2024. Originally from New England, Jarvis currently lives in Maryland with her husband and their three children, where competing piles of LEGO bricks and books cover most surfaces of their house. About End of the Hour “A frank chronicle of healing.”—Kirkus Reviews Esteemed trauma therapist Meghan Riordan Jarvis knew how to help her patients process grief. For nearly twenty years, Meghan expected that this clinical training would inoculate her against the effects of personal trauma. But when her father died after a year-long battle with cancer, followed by her mother's unexpected passing while on their family vacation, she came undone. Thrown into a maelstrom of grief, with long-buried childhood tragedy rising to the surface, Meghan knew what she had to do―check herself into the same trauma facility to which she often sent her clients. In treatment, trading the therapist's chair for the patient's couch, Meghan took her first steps toward healing. A brave story of confronting life's hardest moments with emotional honesty, End of the Hour is for anyone who has experienced the unpredictable, lasting power of grief―and wondered how they'd ever get through it. About Catherine Newman has written numerous columns, articles, and canned-bean recipes for magazines and newspapers, and her essays have been widely anthologized. She is the author of the novel We All Want Impossible Things; the memoirs Waiting for Birdy and Catastrophic Happiness; the middle-grade novel One Mixed-Up Night; and the bestselling kids' life-skills books How to Be a Person and What Can I Say? She lives in Amherst, Massachusetts. About Sandwich “Sandwich is joy in book form. I laughed continuously, except for the parts that made me cry. Catherine Newman does a miraculous job reminding us of all the wonder there is to be found in life.”–Ann Patchett, New York Times bestselling author of Tom Lake. “A total delight.”–Kate Christensen, author of The Great Man and Welcome Home, Stranger. From the beloved author of We All Want Impossible Things, a moving, hilarious story of a family summer vacation full of secrets, lunch, and learning to let go. For more information about author Meghan Riordan Jarvis, visit meghanriordanjarvis.com, and for Catherine Newman, visit www.catherinenewmanwriter.com. For details on Deborah Goodrich Royce and the Ocean House Author Series, visit deborahgoodrichroyce.com

Episode 170 features a conversation with Brian Birdy who is launching a Dill Dinkers pickleball franchise in San Antonio ,Texas. Learn about Brian's story as an entrepreneur and what his pickleball facility will offer. https://dilldinkers.com/franchise-territory-sanantonio-texas/ Podcast music by www.bensound.com

I love Paris in the Springtime, and all the time.

Ewa Wisnierska wurde 2007 von einem Gewitter bis in 10.000 Meter Höhe gerissen. Wie hat das ihr Leben verändert? +++ Ewa Wiśnierska-Lubawska ist eine der erfolgreichsten Gleitschirmpilotinnen. Vier Jahre lang flog die Deutsch-Polin von Podium zu Podium und errang 2008 schließlich den Europameistertitel. In die Geschichtsbücher des Paraglidens ist sie aber mit einem unglaublichen, wenn auch unfreiwilligen Rekord eingegangen. 2007 geriet sie bei einem Trainingsflug im Vorfeld der Gleitschirm-Weltmeisterschaft in Australien in ein Gewitter. Mit Aufwinden von mehr als 40 Meter pro Sekunde wurde sie nach oben gerissen – bis in rund 10.000 Meter Höhe. Eigentlich gilt das als Todeszone, in der ein Mensch wegen der Kälte und ohne Zusatz-Sauerstoff keine 30 Sekunden überlebt. Ewa hat aber überlebt – wohl auch weil sie im Flug ohnmächtig geworden war und ihr unterkühlter Körper längere Zeit auf absoluter Sparflamme lief. Die unglaubliche Geschichte dieses Gewitterfluges wurde schon häufiger erzählt und wird bis heute in Medien immer wieder aufgegriffen. Mich hat für diese Podcast-Folge eine andere Frage interessiert: Was hat dieses zwangsläufig erschütternde Erlebnis mit Ewa gemacht? Und so erzählt die heute 54-jährige in dieser Episode 151 von Podz-Glidz von den Jahren vor dieser Zäsur – und von dem, was danach folgte. Es geht um Träume, Freiheit, Ehrgeiz, Erfolg und schließlich Ewas größte Lektion: zu sich zu stehen, auch mal Nein zu sagen und gerade damit für andere ein Vorbild zu sein. +++ Wenn Du Podz-Glidz und den Blog Lu-Glidz fördern möchtest, so findest Du alle zugehörigen Infos unter: https://lu-glidz.blogspot.com/p/fordern.html +++ Musik dieser Folge: Track: Frolic | Künstler: E's Jammy Jams Youtube Audio Library https://www.youtube.com/watch?v=xasb1I0Mxss +++ Lu-Glidz Links: + Blog: https://lu-glidz.blogspot.com + Facebook: https://www.facebook.com/luglidz + Instagram: https://www.instagram.com/luglidz/ + Whatsapp-Kanal: https://whatsapp.com/channel/0029VaBVs05CHDynzdlJlU34 + Youtube: https://youtube.com/@Lu-Glidz + Soundcloud: https://soundcloud.com/lu-glidz + Spotify: https://open.spotify.com/show/6ZNvk83xxGHHtfgFjiAHyJ + Apple-Podcast: https://itunes.apple.com/de/podcast/podz-glidz-der-lu-glidz-podcast/id1447518310?mt=2 + Linktree: https://linktr.ee/luglidz +++ LINKS zu Ewa Wisnierska: + Ewas Homepage: http://www.ewawisnierska.com/ + Ewa auf Facebook: https://www.facebook.com/ewa.wisnierska + Wikipedia-Eintrag zu Ewa: https://de.wikipedia.org/wiki/Ewa_Wi%C5%9Bnierska + Galileo-Filmbeitrag: Gefangen in einer Gewitterwolke: https://www.youtube.com/watch?v=MIZ5e1G_vBw + Spiegel-TV Reportage: Flug in die Todeszone: https://www.spiegel.de/video/wendepunkte-todeszone-video-99012447.html + Wondery-Podcast: Gefangen über den Wolken | Nomadin der Lüfte: https://open.spotify.com/episode/3Dc6IuSzw06rW9sHuzTWHz

Join Tamara for an interview (actually, we're calling it a conversation!) with notable movie producer Andrew Meyer. What exactly does a movie producer do? You better believe we cover that in the first few minutes!  Andrew spent years in Hollywood, where he served as the President of Herb Alpert and Jerry Moss' A&M Films, Robert Redford's Wildwood Productions, and Norman Lear's Act All Productions. For the past 20 years, he has lived in Savannah and worked as a Professor of Film and Television at SCAD. Notable among the many films Andrew has produced are Fried Green Tomatoes, nominated for two Academy Awards; The Breakfast Club, which Entertainment Weekly named “The Best High School Movie of all Time;” Birdy, which won the Grand Prix Special Jury Prize at the Cannes Film Festival; and the iconic fan favorite Better Off Dead. He recently published his second book, Walking In the Fast Lane - purchase it online here for now, and it will come out in print later in January! https://tinyurl.com/3rdrcnku   Check out more of Andrew's work and follow him here: https://andrewmeyerentertainment.com/ https://www.instagram.com/andyhmeyer839/    Topics in their chat include: The different types of producers; how Andrew's best advice to become a producer is to option a book (acquire the rights); his early career as a music producer and a story of how the Police had to fight for "Roxanne" to be a single; his sabbatical year of traveling around the world, which ended when he received a telegram (!); the usefulness of learning the "Movie Magic" software; how The Breakfast Club went from being a small indie movie to a much larger-budget movie with a much better set; why authors are frequently not great at adapting their own work into a screenplay; the 2 different types of screenwriters; the fact that Stephen King sells the rights to some of his short stories for just $1, allowing aspiring filmmakers and students to adapt them into movies; and his job interview with Robert Redford that involved him traveling to Sundance and then being asked to ride horses through mountain territory together. Tune in and get all the details!

It is time to settle the biggest and most controversial debate of the year, are you #TeamMooDeng or #TeamPesto?! To fight it out, I am joined by the Teen Programs Manager for the Lincoln Park Zoo, the host of the Birdy Bunch Podcast and one of the NAAEE 30 Under 30 – the incredible CJ Greco! CJ was here last week talking all about their favourite conservation stories of the year. This time, we don't just argue about hippos and penguins, we also talk about our personal nature highlights from 2024, our career and life goals for 2025, and we decide what the most underappreciated creatures of 2024 where! Happy Holidays from all of us here at Pangolin! Thank you so much for an incredible 2024, you have made it truly unforgettable!   Useful Links Don't forget to subscribe to the podcast and follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We are @PangolinPodcast You can also follow Jack on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theonlyjackbaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Follow CJ on Instagram at @cj.greco Listen to The Birdy Bunch here: https://open.spotify.com/show/5Pv0NiMp7VQ4U9d621PM1B?si=86444780a0f246ec Music Credits: Monkoto by Kevin MacLeod, Link: https://incompetech.filmmusic.io/song/4072-monkoto License: http://creativecommons.org/licenses/by/4.0/ AngloZulu by Kevin MacLeod, Link: https://incompetech.filmmusic.io/song/3372-anglozulu License: http://creativecommons.org/licenses/by/4.0/ "Christmas Rap" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠ "We Wish you a Merry Christmas" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠⁠http://creativecommons.org/licenses/by/4.0/

Gilian from Hi Ho and Birdy from Sweetie jumped in my car at the end of 2024 to talk about their free show at Schubas (also including Reckoner), happening on 12/30/24 (New Year’s Eve Eve). We’d originally planned to go food-less for this one, but to my surprise they arrived with freshly-baked cookies. They weren’t chocolate chip cookies, though, because Gillian’s not a fan (please don’t cancel her). Things discussed in the episode:*Birdy’s love for alliteration. She’s a fabulously fun, fervent francophile. *Gillian joins the “5 timers club,” while Birdy is right on the edge with her fourth appearance. *Gillian’s reemergence after “this non-musical and extremely medical year.” *The state of Hi Ho: New music on the way. *Birdy Vee is known to warmly greet her community of fans when Sweetie takes the stage. She’s demure. *Sweetie will release a new album (on vinyl!) in 2025. *Birdy plays rugby. Don’t mess with her. *The HOOF Fest, and why Gillian is such a fan of it. *Gillian’s secret to building a band (Sweetie has a similar road map). I don’t know if it was the holidays in the air, or just the combination of Gillian and Birdy, but holy shit, this episode was a lot of fun to record. Please support these fine bands (for ZERO POINT ZERO DOLLARS) on December 30! ## Car Con Carne is sponsored by Easy Automation: easy-automation.net Transform your living space with cutting-edge home automation. Experience seamless control over audio/video, lighting, climate, security, and more. Embrace the future of smart living – your home, your rules. Get a quote by visiting easy-automation.net, or give Dan a call at 630.730.3728 See omnystudio.com/listener for privacy information.

It is time for the annual PANGOLIN HOLIDAY SPECTACULAR! This year, I am joined by the Teen Programs Manager for the Lincoln Park Zoo, the host of the Birdy Bunch Podcast, and one of the NAAEE 30 Under 30, the incredible CJ Greco! We are going to talk a little bit about their work, their love of puns, and how they came to be one of the BEST environmental educators I know! We are of course also going to recap all of the best conservation and nature news of the year! So, we are talking Scottish Wildcats, Partula Snails, Snow Leopards, Siamese Crocodiles, Birds, Rhino IVF and SO MUCH MORE! I am so so so so so excited! Happy Holidays from all of us here at Pangolin! Thank you so much for an incredible 2024, you have made it truly unforgettable! Useful Links Don't forget to subscribe to the podcast and follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠LinkedIn⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! We are @PangolinPodcast You can also follow Jack on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theonlyjackbaker⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! Follow CJ on Instagram at @cj.greco Listen to The Birdy Bunch here: https://open.spotify.com/show/5Pv0NiMp7VQ4U9d621PM1B?si=86444780a0f246ec Music Credits: Monkoto by Kevin MacLeod, Link: https://incompetech.filmmusic.io/song/4072-monkoto License: http://creativecommons.org/licenses/by/4.0/ AngloZulu by Kevin MacLeod, Link: https://incompetech.filmmusic.io/song/3372-anglozulu License: http://creativecommons.org/licenses/by/4.0/ "Christmas Rap" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License⁠⁠⁠http://creativecommons.org/licenses/by/4.0/⁠⁠⁠ "We Wish you a Merry Christmas" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License ⁠⁠⁠http://creativecommons.org/licenses/by/4.0/

Check it out here: http://geni.us/birdy

On the day of his first fight since leaving prison, Mikey (Michael Pitt), once champion boxer, takes a redemptive journey through his past in Jack Huston's "Day of the Fight". As Mikey prepares for the most important fight of his life, he reconnects with the people he was closest to and tries to make things right. Mikey's coach, Stevie Ross, is played by my guest in this segment, the great Ron Perlman ("Hell Boy", "Sons of Anarchy"). "Day of the Fight" is currently screening in theaters. https://youtu.be/-dTA1vt8uLY Filmwax Radio welcomes —for their first visits— actor Anthony Rapp and filmmaker Vivian Kerr with their film "Scrap". Beth (Kerr) has recently been laid off and struggles to maintain the appearance of a successful middle-class lifestyle as she bounces around Los Angeles. Hoping to land a new job and change her situation before her estranged older brother Ben (Rapp) finds out, Beth must confront her own pride in order to reconnect with him and provide for her young daughter Birdy. Meanwhile, Ben and his wife Stacy (Lana Parrilla) consider a third round of IVF and Stacy, a successful attorney, must re-evaluate her own conflicted relationship with motherhood. "Scrap" is currently streaming on digital platforms. https://youtu.be/cyq8j5X3tfU

Ben Maller talks about Jalen Hurts & A.J. Brown attempting to clear the air on their relationship, Patrick Mahomes saying he doesn't have a good feeling about the Chiers upcoming schedule, Maller to the Third Degree, and more!See omnystudio.com/listener for privacy information.

Keep Your Eye On The Birdy | Can't Miss Moments https://www.audacy.com/989word The Charlie James Show Listen on Spotify : https://spoti.fi/3MXOvGP Apple Podcasts: https://podcasts.apple.com/us/podcast/the-charlie-james-show-podcast/id1547262821 Follow us on Social Media Join our Live Stream Weekdays - 3pm to 7pm Facebook: https://www.facebook.com/989word Rumble: https://rumble.com/c/c-2031096 X: https://twitter.com/989word Instagram: https://www.instagram.com/989word/ "Red Meat, Greenville." 12/12/24

Bereits 2023 begeisterte Marius Bear mit seiner Stimme am «Art on Ice» – erst wenige Tage vor dem Start der grossen Show sprang er kurzfristig für Rag'n'Bone Man ein. Im Februar 2025 tritt er nun erneut mit den Eiskunstlauf-Stars auf, zusammen mit Stress, Birdy und Paloma Faith. Hier sagt er, wie sehr er sich schon jetzt schon auf das Eislauf-und-Musik-Spektakel freut.

Birds are not only found in the wild; they are also taking flight in app design! Just take a look at your smartphone interface, and you will see them everywhere. From owls to penguins to magpies, bird-themed icons are transforming our device screens into a digital aviary! / RoundTable's Happy Place (19:41). On the show: Heyang, Steve Hatherly & Guo Yan.

Jake's best friend Birdy is away on an important mission. Meanwhile Jake's little sister has some friends over and they are playing with some pretend spells. They try to put a bad luck spell on Jake. He's not sure if the magic is real or not, but all too soon he starts to suffer from a spell of bad luck.

Beyond thrilled to welcome an incredible musician and a good friend of mine to Percussion Discussion Podcast - Ged Lynch. Ged has a remarkable list of household names on his CV including the likes of Peter Gabriel, Black Grape, Clannad, Tom Jones, Hanson, Electronic, The Icicle Works, Michael Hutchence, Joe Strummer, David Silvian, Dr John, Natalie Imbruglia, Cat Stevens, Suggs, Birdy, Seth Lakeman, Chrissie Hynde......i mean, where do you start? At the beginning of course, in Geds native Blackburn, we talk about his early days of playing in working mens clubs (these were staple gigs in northern towns and cities) playing all manner of gigs including backing strippers...... as a 14 year old! We pick through some of the many career highlights including waiting by the radio on a Sunday evening to find out where Black Grapes debut album had charted (number 3, later number 1!) through to getting the gig with the legendary Peter Gabriel, and some of the many amazing adventures that took him on, including a co headline tour of the US with Sting with none other than Vinnie Colaiuta occupying stings drum chair! Ged gives so many beautiful little nuggets as we go through our conversation, i really hope you enjoy it as much as i did doing it! He is one of the nicest and most gentle souls on this earth and i was very grateful for this oppurtunity to grab a very very rare interview with him! Cheers Ged! www.gedlynch.com

Send us a textIn today's episode, I interview Birdy Wei-Ting Hung, the director of the experimental short film "A Brighter Sunny Day for the Lady Avengers." The film looks at the experience of a young girl in 1980s Taiwan and was selected as a winner for the 2024 Student Academy Awards.Listen to hear how the film was inspired by two other films, how important formative film experiences are, and the importance of the sound to create the world of the film.Books mentioned in this episode include:Abject Pleasures in the Cinematic: The Beautiful, Sexual Arousal, and Laughter by Aaron KernerMinor Feelings: An Asian American Reckoning by Cathy Park HongFilms mentioned in this episode include:"A Brighter Summer Day for the Lady Avengers” directed by Birdy Wei-Ting HungThe Lady Avenger directed by Yang Chia-YunA Brighter Summer Day directed by Edward YangKill Bill Vol. 1 directed by Quentin TarantinoKill Bill Vol. 2 directed by Quentin TarantinoAmer directed by Hélène Cattet & Bruno ForzaniFemale Prisoner 701: Scorpion directed by Shunya ItōSuspiria (1977) directed by Dario ArgentoSuspiria (2018) directed by Luca GuadagninoLady Snowblood directed by Toshiya FujitaAll the Colors of the Dark directed by Sergio MartinoThe film showed at Fantastic Fest in Austin, TX last month and can be seen this month at the Kaohsiung Film Festival in Taiwan from October 12-27.Read Birdy's essay about the two films that inspired her work at MaiFeminism.com.

Welcome back to another Super Cool Radio interview! We have a special guest joining us for this episode. Birdy Vee is the creator of Hands Off Our Fest and the frontwoman for Sweetie. Hands Off Our Fest is an incredible event celebrating the Women, Femmes, and Thems of the Chicago Punk Scene. This year, HOOF takes place on October 19th at Blue Island Beer Co. in Blue Island, Illinois. In this interview, hear Birdy discuss the lineup for this year's event, selecting Blue Island Beer Co. for HOOF, the plans for Sweetie, favorite Sweetie songs to perform live, and much more! SCR and Matthew Thomas would like to thank Sweetie for the great interview. Links to check out: Ticket link for HOOF: LIVE MUSIC – H.O.O.F. (Hands Off Our Fest) – Blue Island Beer Company All links for Sweetie: Sweetie | Instagram, Facebook, TikTok | Linktree Promo pictures courtesy of Birdy Vee Intro and outro music composed by Jonny Neville If you like this video, please consider heading over to our merch store and supporting us. Your support means so much! Link: Super Cool Radio's Artist Shop | Featuring custom t-shirts, prints, and more (threadless.com) --- Support this podcast: https://podcasters.spotify.com/pod/show/supercoolradio/support

Jake wants three wishes - just like in a fairy tale. But although Birdy is no-ordinary bird, he is reluctant to grant Jake his wishes. You seek, real life isn't always so easy...

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

We're back with a listener question episode! We mention Project Phoenix—check out the details here. Subscribe to our newsletter and send us your questions below ⬇️⬇️Get more Life list by subscribing to our newsletter and joining our Patreon for bonus content. Talk to us and share your topic ideas at lifelistpodcast.com. Thanks to Kowa Optics for sponsoring our podcast!

We're going back to some early Nicolas Cage in this episode about Birdy. Check in with us talking about boys with floppy hair, pigeons, and what those people that work in mental hospitals are called. We also discuss this announcement from Variety. This episode contains the song "I'm Like a Bird" by Nelly Furtado. Our theme music is by Alex O'Hagan.

Can we really live without chocolate? This is the question that Jake has when his mother bans sweets and chocolate. If only you could grow it in the garden... well with a little birdy magic, perahaps anything is possible.

What We've Been Watching - Sparkle Godzilla available on MaxThe Honey Pot available for rentalRobot Dreams available in some theatersTrio available on YouTubeDeadpool available on Disney+Wanda available on Criterion Paranoia Agent available on Crunchy RollTuca and Birdy available on MaxHouse of the Dragon available on MaxGravity Falls available on Disney+Bridgerton available on Netflix Joel Paris is Burning available on MaxShaft available on CriterionHot Fuzz available for rentalPickpocket available on Criterion RuPaul's Drag Race available Paramount+Shogun available on HuluBuffy the Vampire Slayer available on Hulu

Me and Erik go waaaaaay back, to when I taught a class on the IBA's elite John Whyte residential training course in Karlovy Vary, Czech Republic, before Erik moved to London to start his stratospheric ascent to the top of the bartending world. We sat down during Tales of the Cocktail to talk about all that: awards, scalpels vs. hammers, how cities like Mexico can suddenly appear on the cocktail map, bartenders telling bullshit stories during cocktail contests, creating the world's best bar tools by emailing with Google Translate, some of the madness of guest shifts and takeovers, and a lot more - enjoy!Erik on IG: https://www.instagram.com/eriklorincz/?hl=esKwānt on IG: https://www.instagram.com/kwantmayfair/?hl=esAntique American Bar on IG: https://www.instagram.com/antiqueamericanbar_bratislava?igsh=MTEycmlpZXpsc3A4dQ==Buy BIRDY bar tools: https://www.birdy-erik.com/shoplist.html Get in touch with Duff!Podcast business enquiries: consulting@liquidsolutions.org (PR friends: we're only interested in having your client on if they can talk about OTHER things than their prepared speaking points or their new thing, whatever that is, for a few hours. They need to be able to hang. Oh, plus we don't edit, and we won't supply prepared or sample questions, or listener or “reach” stats, either.) Retain Philip's consulting firm, Liquid Solutions, specialised in on-trade engagement & education, brand creation and repositioning: philip@liquidsolutions.orgPhilip on Instagram: https://www.instagram.com/philipsduff/ Philip on Facebook: Philip Duff Philip on X/Twitter: Philip Duff (@philipduff) / Twitter Philip on LinkedIn: linkedin.com Old Duff Genever on Instagram: Old Duff Genever (@oldduffgenever) • Instagram photos and videos Old Duff Genever on Facebook: facebook.com Old Duff Genever on X/Twitter: https://twitter.com/oldduff...

Birdy mentioned having a second asshole at the top of the show and that kind of overshadowed everything else. This was recorded June 27th, 2024. Help support Death's Door Prods: https://www.ko-fi.com/deathsdoorprods Website: https://www.deathsdoorprods.com iTunes: https://podcasts.apple.com/ca/podcast/deaths-door-prods/id688055687 Amazon Music: https://music.amazon.com/podcasts/e609ee6e-fe5a-4958-9c5f-3a2396dada90/deaths-door-prods Spotify: https://open.spotify.com/show/1CmcZL9pReluBPjKh9KiVS Twitter: https://www.twitter.com/DeathsDoorProds Dead Twitter: https://www.twitter.com/DeadMan_DDProds Birdy Twitter: https://www.twitter.com/Birdy_Critic Facebook: https://www.facebook.com/DeathsDoorProds YouTube: https://www.youtube.com/DeathsDoorProds The song you heard was Alpha Noize & Dead Critic - "Double Tap." You can find more from Alpha Noize: SoundCloud: @alpha-noize Twitter: https://twitter.com/alphanoize Facebook: https://www.facebook.com/alphanoizeofficial/ YouTube: https://www.youtube.com/user/AlphaNoize1 Song released by Kill the Copyright. https://www.youtube.com/channel/UCtw0Q2TCW5KQfnzx4mQG1sQ

Jason and Brett talk to Catherine Newman (Sandwich) about ailments, weighted blankets, reproductive mayhem, peanut butter, queerness, and of course… sandwiches. Catherine Newman has written numerous columns, articles, and canned-bean recipes for magazines and newspapers, and her essays have been widely anthologized. She is the author of the novel We All Want Impossible Things; the memoirs Waiting for Birdy and Catastrophic Happiness; the middle-grade novel One Mixed-Up Night; and the bestselling kids' life-skills books How to Be a Person and What Can I Say? She lives in Amherst, Massachusetts.Gays Reading is sponsored by Audible. Get a FREE 30-day trial by visiting audibletrial.com/gaysreading**BOOKS!** Check out the list of books discussed on each episode on our Bookshop page:https://bookshop.org/shop/gaysreading | By purchasing books through this Bookshop link, you can support both Gays Reading and an independent bookstore of your choice!Join our Patreon for exclusive bonus content! Purchase your Gays Reading podcast Merch! Follow us on Instagram @gaysreading | @bretts.book.stack | @jasonblitmanWhat are you reading? Send us an email or a voice memo at gaysreading@gmail.com

To continue our Pride Month Assumptions episodes, we have bisexuals here to address all the stereotypes that come along with being attracted to their own gender and others.

To continue our Pride Month Assumptions episodes, we have bisexuals here to address all the stereotypes that come along with being attracted to their own gender and others.

This week on The Expired Podcast we speak to Ryan Ralston of You Are The Power. We were shocked to hear the horrifying stories of families being ripped from their medically fragile children and slapped with abuse charges. Georgia is not doing their due diligence for the children and families in the state. We are outraged and urge you  to donate and educate at YouAreThePower.net Ryan Ralston was born and raised in metro Atlanta. He works for the only organization in Georgia devoted to freeing the imprisoned innocent and correcting and preventing wrongful convictions. Ryan is the Southeast Regional Organizer for You Are The Power, a membership-based nonprofit founded by Spike Cohen. This organization's network has a collective social media reach of over 50 million and maintains working relationships with its members, other advocates, and organizations across all 50 states. Ryan is a steadfast advocate for effective reform within the criminal legal system. Ryan understands that grassroots activism and voluntarism yield more significant results for our communities than mandated government policies. He is committed to Human Respect and focuses on positive solutions that return power to the individual. Despite his serious professional commitments, Ryan dedicates time to his interests. He is a family man who did something truly punk rock: he married his high school sweetheart. They are blessed with three wonderful children. In his leisure time, Ryan writes short stories and essays, reads voraciously, follows Red Sox baseball, gets tattooed, and cherishes moments with his three Australian Shepherds, Mabel, Junie, and Birdy. His parents remain hopeful he will go to med school.Support the Show.

Tracklist: Obsession - MorganJ Anti-Hero - 4 Strings, Lucas & Steve, Lagique, Kungs Rush - Troye Sivan, Big Freedia You Know Why - Bingo Players Feel You - DJ Elmo Looking For Love - Disclosure, salute Good Love - Hannah Laing, RoRo Another Night - Gabry Ponte, Conor Maynard, jayover Head Up - Birdy, Cheat Codes After Midnight - Yves V, Lucas & Steve, Xoro  

This episode of Across The Margin: The Podcast presents an interview with Zach Schonfeld, a freelance writer, journalist, and critic based in New York. He contributes to Pitchfork, Paste Magazine, and other publications. He was formerly a senior writer for Newsweek, where he was on staff for five years. His first book, 24-Carat Black's Ghetto: Misfortune's Wealth was published in 2020 as part of the 33 1/3 series. His latest book — entitled How Coppola Became Cage — is the focus of this episode. In 1982, a gangly teenager named Nicolas Coppola made his film debut and changed his name to Nicolas Cage, determined to distance himself from his famous family. Once he achieved stardom as the rebel hunk of 1983's Valley Girl, Cage began a career defined by unorthodox risks and left turns that put him at odds with the stars of the Brat Pack era. How Coppola Became Cage takes readers behind the scenes of the beloved cult movies that transformed this unknown actor into an eccentric and uncompromising screen icon with a wild-eyed gift for portraying weirdos, outsiders, criminals-and even a romantic capable of seducing Cher. Throughout How Coppola Became Cage Zach Schonfeld traces Cage's rise through the world of independent cinema and chronicles the stories behind his career-making early performances, from the method masochism of Birdy to the operatic torment of Moonstruck and abrasive expressionism of Vampire's Kiss, culminating with the astonishing pathos of Leaving Las Vegas. Drawing on more than 100 new interviews with Cage's key collaborators — including David Lynch, Martha Coolidge, John Patrick Shanley, and Mike Figgis — How Coppola Became Cage offers a revealing portrait of Cage's wildly intense devotion to his performances and his creative self-discovery as he drew on influences as far-flung as silent cinema and German Expressionism. These were all crucial ingredients in the creation of a singular acting style that rejects the limits of realism. Join in as host Michael Shields and Zach Schonfeld celebrate an actor that Ethan Hawke describes as “the only actor in the history of the form to really change the form” while invoking David Lynch to describe Cage as “the jazz musician of actors,” in an episode that is as Nic Cage as they come. Hosted on Acast. See acast.com/privacy for more information.

Birdy is a rather special crow who can talk. He's befriended a boy called Jake, who thinks that Birdy is unique - a true one off - until, well listen to the story and find out. And at the end of the story we have a bonus, an excerpt from our friends at the Stories, Science and Secrets podcast.

Tracklist: Water - Tom Silver, Dead As Disko, Bornstar Dj Stop This Flame - MK, Celeste Ain't No Sunshine - Dubdogz, JØRD, Jasmine Pace Never Going Home - Kungs Love Goes (On & On) - Dubdogz, H. Kenneth, Ten Tonne Skeleton Give Some Love - Gotlucky Ride Out - Tchami, Born Dirty, Manny Torres Choose You - Soul Republik Obsessed - Pink Panda Head Up - Birdy, Cheat Codes

Jake is hoping to go to Lapland for Christmas to see Santa, but it all depends on some precarious family finances. The answer lies in a series of puzzles. Can Jake's best friend Birdy, a smart crow, help him and his family to go on this special treat?

This is a story about an old friend of ours. His name is Birdy. He's a crow who has lived for hundreds of years and known all sorts of important people, including kings and queens. In this story Birdy tells Jake that dinosaurs are not necessarily extinct. Birds, for example, are closely related to dinosaurs, and it's just possible that he and his sister might meet one or two.... Also, check out Kids Stories, Science and Secrets by Rockford's Rock Opera.