POPULARITY
41 episodes with Broken Wings
8 episodes with Broken Wings
4 episodes with Broken Wings
2 episodes with Broken Wings
2 episodes with Broken Wings
2 episodes with Broken Wings
2 episodes with Broken Wings
2 episodes with Broken Wings
2 episodes with Broken Wings
We're thrilled to welcome back hit songwriter and artist James House for his second visit to the pod! James has penned timeless hits like Ain't That Lonely Yet, In a Week or Two, and Broken Wing, as well as charting his own songs like This Is Me Missing You and Hard Times for an Honest Man. Now, he's back with a powerful new album, Stronger Than The Dark, featuring five songs written with veterans through the Writing With Soldiers organization. In this episode, we dive into his incredible career, his passion for giving back, and, of course, play a few songs from the new album—plus some live music around the dining room table. Don't miss this inspiring and music-filled conversation with a true songwriting legend!Support this podcast at — https://redcircle.com/songwriter-connection/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
God's little angels
There's a little fairy sharing her love of the Irish & Celtic Music Podcast #704 . Subscribe now! Flook, Kinnfolk, Katie Jane Band, Malin Lewis, Brobdingnagian Bards, The Lilies of the Midwest, Olivia Bradley, On The Lash, Golden Bough, Clare Sands, Brian Finnegan, CaliCeltic, Robert Zielinski, Bealtaine, Amelia Hogan GET CELTIC MUSIC NEWS IN YOUR INBOX The Celtic Music Magazine is a quick and easy way to plug yourself into more great Celtic culture. Enjoy seven weekly news items for Celtic music and culture online. Subscribe now and get 34 Celtic MP3s for Free. VOTE IN THE CELTIC TOP 20 FOR 2025 This is our way of finding the best songs and artists each year. You can vote for as many songs and tunes that inspire you in each episode. Your vote helps me create this year's Best Celtic music of 2025 episode. You have just three weeks to vote this year. Vote Now! You can follow our playlist on YouTube to listen to those top voted tracks as they are added every 2 - 3 weeks. THIS WEEK IN CELTIC MUSIC 0:06 - Flook "Jig for Sham / The Dawn Wall / Johnny D's / Timewaver" from Sanju 6:17 - WELCOME 9:23 - Kinnfolk "The Star Above the Mountain Set" from Star Above The Mountain 14:36 - Katie Jane Band "Wild Rover" from Wild One 17:42 - Malin Lewis "Cycle Lane" from Halocline 21:46 - Brobdingnagian Bards "South Australia" from Another Faire to Remember 24:51 - FEEDBACK 28:41 - The Lilies of the Midwest "The Sliabh Luachra National Anthem" from Cat's Ceili 31:36 - Olivia Bradley "Little Fairy (feat. Ashley Davis)" from single 36:01 - On The Lash "Timmy Clifford's/The Rookery" from Fireside 39:56 - Golden Bough "Loch Lomond" from Westering Home 44:24 - THANKS 46:36 - Clare Sands, Brian Finnegan "Dealán Dé" from Gormacha 50:30 - CaliCeltic "Bounty on My Head" from Paddy Paradise 53:50 - Robert Zielinski "Drunken Piper" from The Day Dawn 54:46 - Bealtaine "McAlpine's Fusiliers" from single 58:04 - CLOSING 59:17 - Amelia Hogan "Come Away In" from Burnished 1:03:56 - CREDITS The Irish & Celtic Music Podcast was produced by Marc Gunn, The Celtfather and our Patrons on Patreon. The show was edited by Mitchell Petersen with Graphics by Miranda Nelson Designs. Visit our website to follow the show. You'll find links to all of the artists played in this episode. Todd Wiley is the editor of the Celtic Music Magazine. Subscribe to get 34 Celtic MP3s for Free. Plus, you'll get 7 weekly news items about what's happening with Celtic music and culture online. Best of all, you will connect with your Celtic heritage. Please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor. Finally, remember. Climate change is real, and we can fix it. Cutting waste, saving energy, and pushing for clean power all make a difference. A cleaner, safer world benefits everyone. Talk to someone today—our children are counting on you. Promote Celtic culture through music at http://celticmusicpodcast.com/. WELCOME THE IRISH & CELTIC MUSIC PODCAST * Helping you celebrate Celtic culture through music. I am Marc Gunn. I'm a Celtic musician and host of Folk Songs & Stories. This podcast is for fans of Celtic music. We are here to build a diverse Celtic community and help the incredible artists who so generously share their music with you. If you hear music you love, please email artists to let them know you heard them on the Irish and Celtic Music Podcast. Musicians depend on your generosity to release new music. So please find a way to support them. Buy a CD, Album Pin, Shirt, Digital Download, or join their community on Patreon. You can find a link to all of the artists in the shownotes, along with show times, when you visit our website at celticmusicpodcast.com. Email follow@bestcelticmusic to learn how to subscribe to the podcast and you will get a free music - only episode. You'll also learn how to get your band played on the podcast. Bands don't need to send in music, and You will get a free eBook called Celtic Musicians Guide to Digital Music. It's 100% free. Again email follow@bestcelticmusic What is an Album Pin? An album pin is a lapel pin with artwork inspired by a specific album or song from an album. It could be the actual album artwork or it could be inspired by a specific track on the album. The best album pins stand out on their own. They appeal to more than just your fans. It is simple, bold, and visually engaging. However, what truly makes it an “album pin” is that the purchaser also gets a digital album with their pin. I have an entire blog on my website with details including templates for you to make your own album pin jacket.
MAMMA MIA SCUDERIA. The boys talk about the F1 Chinese GP and the new engine regulations that might happen...?________________________________Intro/Outro Song: "2007" by Marcus Smith (http://www.marcussmithmusic.com)Produced by: Unknown InstrumentalzFollow us on Instagram, BlueSky, & YouTube @F1orFOff.Check out our LinkTree to stay up to date on all things FOOFO! (https://linktr.ee/f1orfoff)Check out or Spotify playlist of relevant FOOFO songs! (https://tinyurl.com/337kz6x5)Feedback? Hit us up at f1orfoffpodcast@gmail.com. Share this with a buddy and leave us a 5-star review wherever you listen - it really helps the pod out!
On our 315th Select, we have Egyptian-Kuwaiti DJ NAZ with an emotive mix of afrobeats and melodic house, titled ‘Broken Wings'. Speaking of the set, NAZ says, “This set was curated to not only help me process the loss of my twin flames but also to encourage listeners to tap into whatever it's their soul is now going through, to hopefully bring closure to the adversity they endured.”
It's a tremendous honor for me to share my podcast with Olympic legend and humanitarian, Billy Mills. Billy Mills was born in 1938 and grew up on the Pine Ridge Indian Reservation in South Dakota, home to the Oglala Lakota Nation. Billy had a very difficult childhood, losing his mother, sister, and father by the age of 12. He turned to running as both an escape and a source of discipline. After his father's passing, Billy attended the Haskell Institute, a U.S. government run boarding school for Native American children. Schools like Haskell were controversial for their forced assimilation, physical and emotional abuse, and systematically trying to erase their students Indigenous identities. Billy, though, had a positive experience at Haskell, where he met his coach Tony Coffin, who became somewhat of a father figure to him. Coffin recognized Billy's talent and helped nurture his running abilities, providing him with the foundation that would later lead to his collegiate and Olympic success. Also, during his time at Haskell, Billy spent one of his summers as a counselor at Camp Greylock in Beckett, Massachusetts, which is the summer camp that I went to many years later and is a very important part of my life. So it's very special for me to share this link with Billy. At Haskell, Billy won multiple state championships in track and cross country, earning him a scholarship to the University of Kansas, where Billy would be coached by Bill Easton. Easton was a highly respected track and field coach who led Kansas to multiple NCAA championships, and at Kansas, Billy was one of the best distance runners in the country. He was a three time All American, won multiple Big Eight titles, and was runner up in the 1960 cross country championships. Through all of this, however, Billy faced numerous challenges, including discrimination at every level, including from Easton, hypoglycemia, and struggles with self doubt. At times, Billy even contemplated suicide, and in his senior year, he walked off the track and quit the team completely. Fortunately for Billy, the University of Kansas is also where he met and began dating a young woman named Patricia Pat Collins. Pat played a crucial role in Billy's journey, supporting him through the challenges he faced as an athlete and as a Native American navigating the world of elite sports. After graduating Kansas, Billy married Pat, joined the U. S. Marine Corps, and resumed training with the goal of not just making the U. S. Olympic team and not just winning a medal, but winning the gold medal in the 10K. Which he did. In 1964, Billy qualified for the Tokyo Olympics in the 10, 000 meter race, where he stunned the world with a historic, come from behind victory, becoming the first and still the only American, or even the only person from the Western Hemisphere, to win the gold medal in the event. He also remains the only Native American, other than Jim Thorpe, to win a gold medal in the Olympics. His triumph is considered one of the greatest Olympic upsets and victories of all time. Since Billy's victory in the 1964 Tokyo Games, Billy and Pat have dedicated their lives to giving back, co founding Running Strong for American Indian Youth, an organization that empowers Indigenous communities through health, education, and self sufficiency programs. Their journey is one of perseverance, cultural pride, and spreading a message of unity through diversity. All values that are very much at the heart of the Charity Miles community. Which naturally, is why we want to also thank our partners at Brooks Running who are very much champions for these values as well. For over a century, Brooks has been propelled by a never-ending curiosity with how humans move. It drives their every decision and every innovation. Because they believe movement is the key to feeling more alive. And we're all moving towards something. It could be the top of a mountain, a first-ever 5K, peace of mind after a stressful day, or an Olympic gold medal. It could be a cure for Parkinson's, a cleaner planet, fair play, or the strength that comes from our diversity. So… let's run there. With gear and experiences specifically designed to take you to that place. Whether it's a headspace, a feeling, or a finish line. Let's run there. Head to BrooksRunning.com to learn more. Chapters: 00:00 - The Historic 1964 Olympic 10K Final 02:14 - Introducing Billy Mills: A Story of Resilience 06:12 - Billy's Early Life on Pine Ridge Reservation 13:06 - The Impact of Haskell Indian School 24:16 - Overcoming Struggles in College and the Marines 32:24 - The Journey to the Tokyo Olympics 35:55 - The Epic 10,000-Meter Race 42:54 - Winning Gold: A Dream Fulfilled 50:26 - Giving Back: Running Strong for American Indian Youth 1:03:01 - The Secret to a 63-Year Marriage
This week on Songwriter Connection, we're thrilled to welcome the multi-talented James House – artist, songwriter, producer, and now author! James has had an incredible career in the music industry, with a string of chart-topping hits, including "This Is Me Missing You" and "Hard Times for an Honest Man." His songwriting credits are nothing short of legendary, with his songs appearing on the albums of country giants like Dwight Yoakam, Diamond Rio, and Martina McBride. Most notably, James penned "A Broken Wing," one of Martina's signature songs, which became a massive hit and a country standard.In this episode, James opens up about his journey through the music business, sharing stories behind some of his biggest hits like "I'm Not That Lonely Yet" (for Dwight Yoakam) and "In A Week or Two" (for Diamond Rio). But that's not all – James has also ventured into the world of storytelling with his new audiobook, "Lost in Lauren Canyon," which offers a deeply personal look at his life, career, and the moments that shaped his musical legacy.Tune in to hear James discuss his creative process, the art of songwriting, and the inspiration behind his new project. It's a conversation filled with heart, wisdom, and of course, some great stories and songs along the way.Support this podcast at — https://redcircle.com/songwriter-connection/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Der dritte und letzte Teil unseres grossen Jahresrückblicks gehört wie immer dem einheimischen Musikschaffen. Zum letzten Mal in diesem Jahr sitzt die Moderationscrew vollzählig im Studio und debattiert über grosse und noch grössere CH-Releases 2024. Sounds! macht den grossen musikalischen Jahresrückblick – in mehreren Teilen. Schon vorgestern gab's die besten Songs des Jahres, gestern folgten dann die besten LPs 2024. Die ganzen Sendungen zum Nachhören gibt's unten. +++ PLAYLIST +++ 22:57 - ONE von BERCEUSES 22:49 - CHAOS von CREME SOLAIRE 22:41 - CALIFORNIA von SOFTLANDER 22:38 - RESTLESS LEGS von PIXXIE DUST 22:32 - I WAS IN LOVE von LORD KESSELI & THE DRUMS 22:29 - MAILLOT DE BAIN von BINARY SUNSET 22:20 - SPARKS von MNEVIS 22:17 - RIDDLES OF MY YOUTH von LAUREL BLOOM 22:09 - CALL ME BACK von SIRENS OF LESBOS FEAT. SADBOI & KABUSA ORIENTAL CHOIR 21:56 - VENETIAN BLINDS von COILGUNS 21:46 - BIRTHDAY SONG von LONG TALL JEFFERSON 21:41 - LOTUS von L'ECLAIR & KLAUS JOHANN GROBE 21:34 - YOU GAVE IT ALL von KLAUS JOHAN GROBE 21:31 - CITY GIRL von MOREEATS 21:24 - GLIDE von MELTING STEINE 21:20 - HOLIDAYS von LUCE 21:12 - LILY GOT NO SLEEP von LUCE 21:10 - TEETH IN MY MOUTH von LOLA BOUM 21:03 - BROKEN WINGS von WALTER FROSCH 20:56 - IT'S TIME von PALINSTAR 20:48 - NEVER MIND von MOONPOOLS 20:43 - WE'VE GOT NO TIME AT ALL von PINA PALAU 20:36 - GET A DOG von PINA PALAU 20:35 - TIME FOR ME von ZISKA STAUBLI 20:24 - NICE LIQUOR von MOUNT JACINTO 20:22 - NOT RICK von ANNA ERHARD 20:14 - BOTANICAL GARDEN von ANNA ERHARD 20:11 - PICK IT UP von EMZYG 20:03 - CONSEQUENCE von Frederik
Praise the Lord, my soul, and forget not all his benefits— who forgives all your sins and heals all your diseases PSALM 103:2-3Support the show, a product of Hope Media: https://hope1032.com.au/donate/2211A-pod/See omnystudio.com/listener for privacy information.
Nikita Johal is playing Younger Gemma in the premiere of Now That's What I Call A Musical.The show is currently embarking on a tour across the UK and Ireland. Written by Pippa Evans and directed and choreographed by Craig Revel Horwood, Now That's What I Call A Musical features hits by Blondie, Tears For Fears, Spandau Ballet, Eurythmics and more.Most recently Nikita played Mandy and understudied Malika & Gold in Frankie Goes To Bollywood (UK Tour / Southbank Centre)Her theatre credits also include: The World Goes Round (Yvonne Arnaud Theatre), Princess Caraboo in Princess Caraboo (Finborough Theatre), Yonah in Children Of Eden (Union Theatre), Wendla inSpring Awakening (Hope Mill Theatre), Laputa in The Snow Queen (The Everyman, Liverpool), Selma Karamy in Broken Wings, (Theatre Royal Haymarket, The Other Palace & Beittidine Festival, Lebanon), Princess Aurora in Sleeping Beauty (Watford Palace Theatre), Princess Jasmine in Aladdin (Newbury Corn Exchange), Lily/Ladybird in What The Ladybird Heard (The Palace, West End & UK Tour), Understudy Neera/Bollywood Ensemble in Migrations (Welsh National Opera UK Tour), Asma/Kelly in The Wife Of Willesden (The Kiln & Boston/New York), Princess Katherine/Gower/Costable in Henry V & The Franklyn in The Canterbury Tales (Guildford Shakespeare Company), Maud in The Invincibles (Queens Theatre Hornchurch & The New Wolsey) and Fairy Sugarsnap in Jack & The Beanstalk (Evolution Pantomimes). Now That's What I Call A Musical is touring until April 2025. Visit www.thenowmusical.com for info and tickets. Hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.
Once he's done humiliating radio hosts, we'll tell you exactly what Jerry Jones needs to do NOW to save his season! It's early and they're over 500 but Sal Pal is going to tell you why Sunday is absolutely a MUST WIN for the leader of the Eagles! And, which is the best qb-wr combo in all of football? We've got the answer!!! Learn more about your ad choices. Visit podcastchoices.com/adchoices
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 just lovely! 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 #goldenageofradio 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 Rocky Jordan was a radio series about an American restaurateur in Cairo who each week became involved in some kind of mystery or adventure. The show was broadcast on CBS from October 31, 1948, to September 10, 1950, and then again from June 27, 1951, to August 22, 1951. The character of Rocky Jordan had been introduced to listeners in a similar show called A Man Named Jordan that was broadcast from 1945 to 1947 on the CBS West Coast network, but set in Istanbul, rather than Cairo. In February 1951, it was announced CBS was in discussions to make a TV series based on the show starring George Raft made by Raft's company. However this never happened. Cast The two lead roles were those of Rocky Jordan and Captain Sam Sabaaya of the Cairo Police. For most of the show's history Jordan was played by veteran radio actor Jack Moyles, but he was later replaced by a movie star, George Raft, for the brief 1951 run. Jay Novello played Sabaaya throughout the entire series. Other roles were played by members of Hollywood's Radio Row, and the announcer was Larry Thor. Characters Rocky Jordan Rocky Jordan (Jack Moyles/George Raft) is the proprietor of the Café Tambourine, which is located, according to the announcer, "not far from the Mosque Sultan Hassan," though he is originally from St. Louis. During the course of the series, it is revealed that Rocky previously ran a Café Tambourine not only in Istanbul (known from the previous series, "A Man Named Jordan") but also in San Francisco[6] and other locales. As an American restaurateur in a North African country, Jordan is somewhat similar to the Rick Blaine character in the film Casablanca, though the Café Tambourine is apparently a much less salubrious venue than Rick's Bar. The announcer describes it as being "Crowded with forgotten men, and alive with the babble of many languages". Each episode sees Jordan confronted with a "crime, a mystery, a beautiful woman, or a combination of the three". Precisely why Jordan is now in Egypt rather than Istanbul (as in the previous series) is never mentioned and the reason for being unable to return home to the United States is deliberately left vague, though it is hinted at throughout the course of the series that some occurrence in St. Louis prevents him from doing so. Sam Sabaaya Sam Sabaaya (Jay Novello) is the police captain who apprehends the criminals at the end of each adventure. Sabaaya is portrayed as a diligent and competent policeman, usually as Jordan's friend and ally but sometimes as his foil. He is an Egyptian Muslim, is married, and has four children. Other characters Two further characters appear in some but not all episodes, Chris (voiced in most episodes by Lawrence Dobkin) and Sergeant Greco (Lou Krugman). Chris is the bartender at the Café Tambourine, while Greco is one of Sabaaya's underlings. Greco has a particular dislike of Jordan, and invariably tries to make his life difficult, often by arresting him as the chief suspect in whatever crime Jordan is trying to solve. He's also ambitious and eager for promotion. Style A deliberately Eastern feel was created by careful use of music and sound effects, and the writers Larry Roman and Gomer Cool took care that the characters used the names of real streets in Cairo. Much of the information the writers used for this came from a book called the Pocket Guide to Egypt that the US Army had produced for servicemen sent there during the War. The Oriental-sounding music composed for the show by Richard Aurandt is considered to be of exceptional quality. The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow
Creighton baseball's season is over. Do you care? Maybe that's part of the problem.
Thanks for listening to this poem from our fourth season. I hope you will check out the earlier seasons of poems, and many more poems not yet available as podcasts online at writingtheday.wordpress.com WRITING THE DAY poetry is available on these platforms. --- Send in a voice message: https://podcasters.spotify.com/pod/show/ken-ronkowitz/message
A graveyard here, a graveyard there. Before your eyes, behind your eyes. It's all the same journey. Brought to you By: The Sonar Network https://thesonarnetwork.com/
A graveyard here, a graveyard there. Before your eyes, behind your eyes. It's all the same journey.
Thomas Meyerhöfer reflektiert über den Kampf, den die himmlischen Wesen führen, um uns zu beschützen und zu unterstützen. Er erzählt von einem Vorfall, bei dem ein Engel auf einem Schrank steht und durch ein Missgeschick herunterfällt, seine Flügel brechen und sein Kopf abbricht. Thomas reflektiert darüber, wie dieser Vorfall ihn dazu bringt, über die Anstrengungen […]
My #1 preforming trade of 2023 the ....Patent pending BWB in SPX.
Welcome to this week's episode of "Tips for the Transition: The Career Roadmap," where we explore meaningful ways to find joy and reduce stress in our daily lives. We're joined by Marybeth Gregg, an international business consultant, leadership coach, and celebrated author, who brings a wealth of experience in guiding leaders to embrace more fulfilling lives both professionally and personally.We talk about:Living Intentionally: Marybeth shares insights on how to shift from merely reacting to life's demands to living with intention and purpose.Breaking Free from Constraints: We discuss what might be holding you back from enjoying life and how to step off the daily hamster wheel.Perfection and Independence: Tackling the pressures of feeling like you need to do everything yourself and the importance of delegating and sharing responsibilities.Letting Go: Marybeth advises on how to release the burdens that do not serve us and focus on what truly brings us joy.Embracing Your Voice: Exploring ways to ensure you are heard and valued in every aspect of life.Listening to Your Soul Clock: Understanding the subtle signals your body and mind give you about making life-enhancing decisions.Marybeth's unique blend of professional expertise and personal passions, from leading international leadership workshops to teaching culinary arts, provides a vibrant backdrop to today's conversation. Her latest book, How to Soar with a Broken Wing, Finding Tiny Moments of Joy Every Day, offers additional layers of wisdom on living joyously. CONNECT WITH MARYBETH GREGGFounder ~ The International Center for Women's LeadershipWebsite: ticwl.comLinkedIn: linkedin.com/in/marybethgreggMarybeth's Book: "How to Soar with a Broken Wing: Finding Tiny Moments of Joy Every Day" - 20% Discount with coupon JOY2024 linkedin.com/in/marybethgreggCONNECT WITH YOUR HOST, MARÍA TOMÁS-KEEGANCertified Career & Life Coach | Transition ExpertGet Your FREE Career Transition Readiness ChecklistAre you contemplating a career transition but unsure if you're ready to take the leap? This FREE checklist will help you assess your readiness for a career change. It covers five key areas to consider before embarking on this significant journey.thrivewithmaria.com/tv-checklist
Dan returns to discuss Spurs' loss to Newcastle. He also looks ahead to the upcoming North London Derby, remaining Premier League games, talks confidence building, debates whether players should just 'focus on football', and delves into our upcoming end-of-season friendly. Support us on Patreon at patreon.com/abitspursyChat with us on Discord at discord.abitspursy.comWatch our full episodes on YouTube at youtube.com/@abitspursyFollow us on Twitter at @abitspursy and @dan_spursEmail us at dan@abitspursy.com
Would you call this season a success for Creighton basketball?
Steadfast spirits remain A Stefan Christoff guest mix for Radio Flouka Airing Monday, Feb. 5, 2-3pm eastern (8-9pm Paris) A mix of musical experimentations by artists from around the world who have been supporting the global movement to call for an end to the genocidal actions of the Israeli state in Gaza. Also this mix includes some classics of revolutionaries who have passed including Victor Jara. This mix is woven with sounds from demonstrations to support Palestine in Mexico City. Track listing (artist name / track name) 01. Mexico City protest, drumming and chants 02. Ana Tijoux, Somos Sur ft. Shadia Mansour 03. Victor Jara, Manifiesto 04. Arabic interview with Elsa Belmont at Palestine solidarity protest in Mexico City 05. Stefan Christoff, Brother Jordan 06. Daniel Carter & Stefan Christoff, Improvisation 1 (T. Gowdy remix) 07. Daniel Carter & Stefan Christoff, Oort Cloud (Ana Quiroga remix) 08. Daniel Carter & Stefan Christoff - Trickster (Nixtrove remix) 09. Daniel Carter & Stefan Christoff - Replacements ( Philippe Battikha remix) 10. Interview with Kevin Gould from Academics for Palestine at Concordia University in Montreal 11. Secret Pyramid, Broken Wing (playing below interview) Note all the protest sounds and interviews were recorded by Stefan Christoff
In 2023 Caesar Winston Wilson performed "The Broken Wings of Young Black Male" by Winsphere Jones. At the Atlanta Black Theatre Festival. This was for the annual Doctor Doris Derby Monologue Competition. He did this while serving as an intern at this year's festival. We are so proud of him. To learn more about the festival, please check: https://Atlantabtf.org and https://winstonawilson.com
We are honored to have a truly remarkable guest, Colonel Lee Ellis. Colonel Ellis is a retired Air Force pilot, POW survivor, and now a leadership coach. Lee's journey is nothing short of inspiring. In this episode, you'll hear about Lee's incredible resilience in the face of adversity, his experiences as a POW in Vietnam, and his transition to a becoming a world class speaker and leadership coach. You'll also get a glimpse into his best-selling books, including “Leading with Honor: Leadership Lessons from the Hanoi Hilton” and his latest, “Captured by Love: Inspiring True Romance Stories from Vietnam POWs”. This is not just a podcast episode, it's a journey of courage, resilience, and immense dedication. Don't miss out on this opportunity to learn from a true hero. WATCH NOW!
We are honored to have a truly remarkable guest, Colonel Lee Ellis. Colonel Ellis is a retired Air Force pilot, POW survivor, and now a leadership coach. Lee's journey is nothing short of inspiring. In this episode, you'll hear about Lee's incredible resilience in the face of adversity, his experiences as a POW in Vietnam, and his transition to a becoming a world class speaker and leadership coach. You'll also get a glimpse into his best-selling books, including “Leading with Honor: Leadership Lessons from the Hanoi Hilton” and his latest, “Captured by Love: Inspiring True Romance Stories from Vietnam POWs”. This is not just a podcast episode, it's a journey of courage, resilience, and immense dedication. Don't miss out on this opportunity to learn from a true hero. WATCH NOW!
This week we discuss the Killdeer. These shorebirds (that aren't always near the shore) will put on a display where they pretend like they are injured to lure predators away from their eggs. Join John Bates, Shannon Hackett, RJ Pole, and Amanda Marquart as we discuss the Killdeer. We also follow up on a previous discussion about how smoke and wildfires impact birds. We talk about a study in California called "Project Phoenix" where birders can help participate in studying the impact that wildfire smoke has on birds. Here is a link to participate in the study. Please note the study is only in the state of California, so you have to be in California to participate: https://www.project-phoenix-investigating-bird-responses-to-smoke.org/Reach out to us at podcast.birdsofafeather@gmail.com and follow us on Instagram @birds_of_a_feather_podcastPlease spread the word! We are still new and trying to spread the word about our podcast. We are trying to reach birders of all levels, and hope to provide fun info for experts and beginners alike. Thanks!One of the best new podcasts available. Also called the best bird podcast.
Bitterness! Tragedy! Laughter! Rock stars being eaten for breakfast! OTHER STUFF!!! New podcast episode Hosted on Acast. See acast.com/privacy for more information.
It's time to crack into "Broken Wings", book one of the next two-booker! This episode brings us the story of Robin Taylor, bad girl number one who loves cigarettes and hates country music, Too bad her mother darling (gag) wants to be a country singing star! Wacky hijinks ensue, there may or may not be a Row Berry, and we get a Modern Vaginal Product!
CluelessGorilla@gmail.com Youtube: https://www.youtube.com/c/GorillasPlaythrough Website with polls: https://gorillasplaythrough.wordpress.com/
Welcome to the Nothing Shocking Podcast 2.0 reboot episode 181 with our guest Steve Farris of Mr. Mister. In this episode we discuss his work with wetland restoration and conservation, as well as a recent live reunion recording of Broken Wings by Mr. Mister that has fans longing for more. We also discuss working with Eddie Money, Kiss, Whitesnake, and more! For more information visit https://www.facebook.com/MrMrOfficial/ https://www.facebook.com/SteveFarrisFans/ Hong Kong Sleepover: https://thehongkongsleepover.bandcamp.com Please like our Facebook page which can be found right here: https://www.facebook.com/nothingshockingpodcast/ or follow us on twitter at https://twitter.com/hashtag/noshockpod Help support the podcast and record stores by shopping at Ragged Records. http://www.raggedrecords.org
Marybeth Gregg is the President and Founder of the International Center for Women's Leadership. Throughout her 30+ year career, she has worked in human development for several global corporations in addition to her extensive individual coaching work with clients in the business and not-for-profi t arena. In 2012, Marybeth founded what is now The Inter- national Center for Women's Leadership. This woman-owned-and-operated organization is dedicated to supporting women during personal life changes, mid-life journeys, partnership transition, retirement, or simply for women who are in search of a more meaningful and fulfilling life. In our conversation today, Marybeth shares her story of personal transformation from working in corporate to becoming an author and founder. Connect with Marybeth on her website: https://ticwl.com/pyp-podcast-free-gift/ Get her book here: https://ticwl.com/how-to-soar-with-broken-wing-book/ = = = = = As always -- thank you for supporting the show! Your 5-star rating and review makes a difference -- it's easy to leave one and it helps spread the word about the podcast! = = = = = My latest book, The Far Unlit Unknown -- is available everywhere books are sold! Get your copy and learn more about it here Are we connected yet on social? @maryloukayser (Instagram) https://www.linkedin.com/in/mlkayser/ (LinkedIn)
Katie is too busy being a cool kid to do the pod, so Sean and Nick throw it back to the old days with a two-man show recapping the last two races in F1 and exploring whether they give much of a damn about the latest news from the NFL. Sean grills Nick on soccer, and Nick self-sabotages in spectacular fashion. Monaco was entertaining once the rain arrived, but Lando Norris likely won't want to remember his weekend in Barcelona. Is Mercedes back? And will Sean ever learn how to use string lights?
Jimmy gets into his dream school and wants to have stem cell surgery in order to regain use in his legs. When his father refuses, Jimmy makes a shocking discovery that changes everything. Meanwhile, Peter starts a band with Sav and Danny and tries to get Spinner to be their drummer. Later, Anya is put in charge of a Free the Children Freedom Fast and tries to make Holly J. and Sav get along. When her plan fails, Anya is thrust into a battle against the Queen Bee herself. Meanwhile, Jay and Manny attempt to get her engagement ring from a pawn shop. email us at degrassijrhigh@gmail.com Connect with us on Twitter, Facebook, and Instagram. Find The Unofficial DTNG Playlist on Spotify and Apple.
CUZ I HAVE TO...when living your dream is the only option - with JULIE SLATER & JASON FRIDAY.
Hosts Julie Slater & Jason Friday chat with LA-based composer/songwriter Emily Greene. Born in Miami, she went to the Berklee College of Music in Boston...Emily spent many years on the road touring with her own music, and with bands like Passion Pit and Riothorse Royale...She has two new songs "Husband Song" and "Show Me" - and she's done the music for TV shows Station 19, Superman & Lois, and Maniac...and she wrote the score for the film "All The World Is Sleeping" - check out the song "Let Me Be the One." Emily talks about all of her passions: friendship, photography, art, museums, visual art, animals...Julie and Jason talk about their dog that died and the tattoos they got...Emily talks about her pup...and how we don't know how much time we have left...what is life about???...Julie and Jason talk about not getting another dog anytime soon...Emily talks about growing up knowing music - and how music came easy for her...her parents were musicians/instruments around the house all the time...Emily talks about writing her first song as a kid (and how it was pretty much her stealing "Broken Wings" by Mr. Mister)...her side project Kissy Girl with her friend Pascal...how she always loved music...how Emily has done a lot of collaborating and writing for TV and film...how Emily "likes songs" in general and "songs" bring her the most joy...how she doesn't feel like herself when she's not working on songs...the complexity of writing music for TV and film...the kinds of shows she's played...the musical chemistry you have with people...Jason talks about his brother Sean who is also a musician (Sean is in the band Dead Sara)...we chat about the dark years of Florida and how terrible Florida is (where Emily is from...hold up, she's not from Florida, she's from Miami!!)...how LA is nothing like Florida...Emily also loves the desert and thinks its like the sea...Julie talks about the worst time in her life living in Florida...the best thing in Florida was shot-gunning Old Milkwaukee's on the beach...Emily talks about going to the Berklee School of Music in Boston...after Berklee, Emily moved to NYC...Julie talks about her old band Plankton....being banned from the club the Continental...how's she's played all sorts of venues...Emily playing Lollapalooza with Passion Pit...how fun it is to have people who pack your gear...Emily playing keyboards in Passion Pit...learning sound design...how playing solo now is helping her really find her voice, even though she loves collaborating bit time...how Emily misses playing shows...Julie and Jason talk about their own show at No Vacancy June 12th opening for SYML for an 88.5 the SoCal Sound benefit show (details coming soon)...Jason is upset about how he played "Down in a Hole"....Emily coming to Julie's radio station 88.5 the SoCalSound and playing some songs...how Emily loves jazz along with bandmates...how COVID has made her feel the emptiness of not playing...Emily is excited to be showing herself again... IT'S 5 O'CLOCK SOMEWHERE...FIND OUT MORE ABOUT EMILY...what artist would she tour with (living or dead) if she could choose...what is the one thing she brings on a rocket ship to the moon...the one thing she loves about Los Angeles (um...hello, is this thing on)...btw, the desert isn't part of LA...what line from a song would be her epitaph...what advice she would give her younger self about living her dreams... And don't forget the AFTERPOD where Julie & Jason talk about Emily Greene after she leaves the room. Check out Julie's chat with Emily for 88.5 the SoCal Sound in Los Angeles here. Follow @cuzihavetopodcast on Instagram for all the latest news. We'd love to hear from you - email us at cuzihavetopodcast@gmail.com. Find other episodes or leave us a voice message for the show on the anchor website. Thanks for tuning in! Keep on living those dreams, friends, CUZ YOU HAVE TO!! - jULIE AND jASON --- Send in a voice message: https://podcasters.spotify.com/pod/show/cuzihaveto/message
CW3 Ryan Schwend and CW2 Eugene Park stop by to tell us the story of how they were able to safely land after they experienced a catastrophic emergency during a routine trip while they were on deployment in Afghanistan. It is truly an amazing story! They walk us through their decision making process, how they communicated with the crew chiefs in the back, and how a ground crew were able to dislodge their broken, mangled cargo.
Welcome to THE CLASSIC METAL SHOW! In this episode, Neeley and Chris are back after a two week break, but unfortunately, Chris is only able to do the first hour due to his shoulder injury. Don't worry, though, because he still shares the details of what's going on with his shoulder. Meanwhile, Neeley fills us in on how his life coaching courses are progressing and extends a special invitation to all our Classic Metal Show fans to join his life coaching experience for free. If you're looking to improve your life, this is an opportunity you don't want to miss! So, hit that subscribe button now and never miss an episode of THE CLASSIC METAL SHOW. All our links are available at https://www.linktr.ee/cmsrocks. Live Saturdays from 9pm to 3am Eastern at www.theclassicmetalshow.com or on Rumble, Odysee or YouTube. BECOME A VIP: https://bit.ly/cms-vip GET A FREE RUMBLE ACCOUNT: https://rumble.com/register/classicmetalshow/ GET A FREE ODYSEE ACCOUNT: https://odysee.com/$/invite/@ClassicMetalShow:a **NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.** Please take a moment to subscribe, share and leave us a 5 Star Review for this episode! It helps us grow and do better episodes for YOU!! ROKU: Search "The Classic Metal Show" in the Roku Channels AMAZON: Search "The CMS Network" To Add Our Channel --- Send in a voice message: https://anchor.fm/cmspn/message
Welcome to PTBN Pop's Video Jukebox Song of The Day! Every weekday will be featuring a live watch of a great and memorable music video. Since we're around Valentine's Day, this week we are all about power ballads. On today's episode, Keith Langston is watching “Broken Wings” by Mr. Mister from 1985. The YouTube link for the video is below so you can watch along! https://www.youtube.com/watch?v=nKhN1t_7PEY
It's new release time, babes and buds! This week, Abigail sits down for an extra silly interview with SE Wendel, author of THE BROKEN WINGS DUET! Discussion includes flash mobs, Taylor Lautner, hitting the romance beats, and big wingy bois. THE BROKEN WINGS DUET by SE WENDEL: https://amzn.to/3DQ4SSiSE WENDEL'S WEBSITE: https://www.sewendelauthor.com/ABIGAIL'S STUFF: https://linktr.ee/abigailkellyauthorKOT'S MERCH STORE: https://rdbl.co/2Vg6ZeACITIZENS OF THIRST DISCORD SERVER: https://bit.ly/30NsP8PTWITTER, FACEBOOK, & INSTAGRAM: @kingdomthirstKoT'S BOOKSHOP: bookshop.org/shop/kingdomthirstEMAIL: kingdomofthirst@gmail.comPO Box 460816San Francisco CA, United States94146-0816Kingdom of Thirst is a member of the Frolic Podcast Network! Find all our episodes and tons of new podcasts to enjoy at frolic.media/podcasts.
Episode 224: Finally some real meat to this season happens in this episode. stem cells and blackmail.
One of Nick's favorite strategies consists of layering broken wing butterflies in the same expiration cycle for a stock or ETF, and adjusting them as the market moves. The goal is to end up with multiple risk-free butterflies from a principal risk standpoint, and he walks you through his process today. Tune in to learn more with a live Q&A session as well!
One of Nick's favorite strategies consists of layering broken wing butterflies in the same expiration cycle for a stock or ETF, and adjusting them as the market moves. The goal is to end up with multiple risk-free butterflies from a principal risk standpoint, and he walks you through his process today. Tune in to learn more with a live Q&A session as well!
After the big drop in Chinese stocks yesterday, Liz and Jenny get into BABA with a November broken wing butterfly. Crocs are making a comeback, so the girls look for a bullish trade. GM earnings are over, but IVR is still high and GM offers a good ROC. They place a December jade lizard.
After the big drop in Chinese stocks yesterday, Liz and Jenny get into BABA with a November broken wing butterfly. Crocs are making a comeback, so the girls look for a bullish trade. GM earnings are over, but IVR is still high and GM offers a good ROC. They place a December jade lizard.
Tune in to learn all about the broken wing butterfly strategy, where the credit spread portion of the trade is wider than the long debit spread portion, resulting in a net credit on entry.The tastytrade crew breaks down trade entry, management and profit targets today and they show an example in XOP.They also place an ORCL earnings trade!
Tune in to learn all about the broken wing butterfly strategy, where the credit spread portion of the trade is wider than the long debit spread portion, resulting in a net credit on entry.The tastytrade crew breaks down trade entry, management and profit targets today and they show an example in XOP.They also place an ORCL earnings trade!
Liz and Jenny talk about the reason they name trades and how a risk defined big lizard is actually a broken wing butterfly, but the name determines the strikes. They look at 0DTE SPX trades for a viewer. They also place a new trade in Amazon and a jade lizard in EWZ.
Pod Friends features confessional conversations going “behind the mic” with the voices of the RHAP network. Host Matt Scott sits down with Teresa "T-Bird" Cooper. The post Pod Friends | Teresa “T-Bird” Cooper: Even With A Broken Wing, You Can Fly appeared first on RobHasAwebsite.com.
© 2020-2025 Ivy Podcast Discovery LLC
