Podcasts about copyright office

Today we bring you the recording from our latest on-line Seismic Event, “Artist Careers in a Parallel Universe.” It was an exploration into the livelihood of three working artists; Clara Venice, Vivek Agrawal, and The Phronetic. RPS Chief Creative Officer, Adam McHeffey talks with them about how they are using new technology to fuel their creative visions, how they've built brand relationships, and importantly, how they're monetizing their networks. Great insight into how they make it work. Also! stick around for the news.   Seismic Activity Guests Vivek Agrawal The Cassette Speaker The Oasis   Clara Venice Locket   The Phronetic   Sign up for the next Seismic Activity!   Links to the News What Is Going On With the Chaos At the Copyright Office? Fake Podcasts EU artists generated more than $1.8 billion on Spotify in 2024, up 15% YoY   The Music Tectonics podcast goes beneath the surface of the music industry to explore how technology is changing the way business gets done. Visit musictectonics.com to find shownotes and a transcript for this episode, and find us on LinkedIn, Twitter, and Instagram. Let us know what you think!  Get Dmitri's Rock Paper Scanner newsletter.

EASY LISTENING DEP'T.: For an instructive contrast of approach, there is the lawsuit filed yesterday by Shira Perlmutter, on the question of who is in charge of the United States Copyright Office, in which the plaintiff identifies herself as Register of Copyrights and Director of the U.S. Copyright Office, while naming the defendants Todd Blanche “in his capacity as the person claiming to be Acting Librarian of Congress” and Paul Perkins “in his capacity as the person claiming to be the Register of Copyrights.” Just because Donald Trump says he's taken a job away from someone and given it to someone else, that doesn't mean change is reportable as a fact in its own right. Please visit, read, and support INDIGNITY! https://www.indignity.net/

As generative AI transforms the way businesses operate, understanding copyright risks has never been more critical. In this episode, host Julian Dibbell sits down with Rich Assmus and Brian Nolan, partners in our Intellectual Property practice, to unpack the U.S. Copyright Office's latest report on generative AI and copyright law. They dive into the high-stakes legal questions surrounding the use of copyrighted content to train AI models, including hot-button issues like model weights and retrieval-augmented generation. They also discuss how courts may apply the fair use doctrine to generative AI, with a close look at transformativeness, market impact, and other key factors.

Host Becky Parker Geist sits down with Dr. C. Daniel Miller, a copyright specialist and publishing consultant, to tackle the complex world of copyright law, AI-generated content, and audiobook production. In this episode, we dive into: Copyright basics—what authors and producers need to know about using music, lyrics, and other copyrighted material in audiobooks. The challenges of securing permissions—why tracking down rights holders can be a lengthy (and expensive) process. AI's impact on creativity and copyright—can AI-generated content be copyrighted? How does fair use apply? Ethical considerations—should authors disclose AI-assisted or AI-generated content? What are the risks of unintentional infringement? The future of AI and publishing—how platforms like Amazon are handling AI content, and why transparency matters. Dan also shares insights from the U.S. Copyright Office's latest rulings, ongoing lawsuits against AI platforms, and practical advice for authors navigating this evolving landscape. Whether you're an author, narrator, or producer, this episode is packed with essential knowledge to help you protect your work and avoid legal pitfalls.

Amazon KDP just announced a major change to print royalties, and the publishing world is buzzing. In this week's self-publishing news, we cover the updated royalty rates, what it means for paperback authors, and how it may or may not tie into the rise of low-content and AI-generated books. We also look at a major court ruling that could finally open the door for easier mobile eBook sales, plus a new report from the U.S. Copyright Office on artificial intelligence and training data. If you care about book sales, author income, or where publishing is headed next, don't miss this week's Self-Publishing News. Book Award Pro - https://DaleLinks.com/BookAwardPro (affiliate link) Subscribe to The Self-Publishing Hub - https://TheSelfPublishingHub.com Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@DaleLRoberts My Books - https://DaleLinks.com/MyBooks Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Sources: KDP: Print Royalty Rate and Paperback Printing Cost Changes FAQ - https://kdp.amazon.com/en_US/help/topic/GXFPA52P6ZJD2U3N?ref_=pe_93986420_1235824880 KDP Print Calculator - https://kdp.amazon.com/en_US/help/topic/G200735480?ref_=pe_93986420_1235824880#royalty_calculator The Bottom Line - https://janefriedman.com/the-bottom-line-janes-publishing-industry-newsletter/ US Copyright Office - Copyright and Artificial Intelligence, Part 3 - https://www.copyright.gov/ai/Copyright-and-Artificial-Intelligence-Part-3-Generative-AI-Training-Report-Pre-Publication-Version.pdf?mc_cid=e9a1b9ab69&mc_eid=433332c881  Major Court Ruling Opens New Path for Mobile eBook Sales - https://www.hiddengemsbooks.com/ruling-opens-path-for-mobile-ebook-sales/  Coauthoring Nonfiction: Strategies for Successful Collaboration - https://us02web.zoom.us/webinar/register/WN_7hV_IsqVQE6Ghv1HNl-Szg#/registration  Outstanding Creator Awards - https://www.outstandingcreator.com/winners--2025-spring-contest.html Wide Publishing for Authors - https://DaleLinks.com/WideBook Mastering Self-Publishing on Amazon KDP - https://www.youtube.com/live/_8rNH3SQJK4?si=HP2BB81XZTF9oX24 How to Win Book Awards Without Wasting Money | Outstanding Creator Awards - https://www.youtube.com/live/X-4w4OWnRgE?si=DkqBCns4G2emtoZq 30 Books Giveaway - https://DaleLinks.com/30Books  Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

GTA 6 trailer 2 and anticipation Grok Pivots From 'White Genocide' to Being 'Skeptical' About the Holocaust Elon Musk's apparent power play at the Copyright Office completely backfired Microsoft CEO Satya Nadella Explains How He's Making Himself Obsolete With AI How Finland's district heating systems are harvesting heat from data centers; Microsoft's project in Kirkkonummi will be the largest in the world when completed OpenAI launches Codex, an AI coding agent, in ChatGPT China begins assembling its supercomputer in space NASA engineers revive Voyager 1's dead thrusters from 15 billion miles away 25% of steam playeres play Blue Prince Jamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked ad Fortnite players can speak with Darth Vader through a James Earl Jones-voiced AI Epic Games says Apple is blocking Fortnite from the US and EU App Stores Epic wants the court to compel Apple to approve Fortnite's return to the US App Store Nextcloud accuses Google of "Big Tech gatekeeping" over Android app permissions Samsung's Galaxy S25 Edge starts off the super thin phone era Square's $399 Handheld accepts tap-to-pay at your table Montana Becomes First State To Close the Law Enforcement Data Broker Loophole - Slashdot Republicans Try to Cram Ban on AI Regulation Into Budget Reconciliation Bill The first US hub for experimental medical treatments is coming The US Army is getting in on right-to-repair They're just giving up and calling it HBO Max again Host: Leo Laporte Guests: Wil Harris, Devindra Hardawar, and Harper Reed Download or subscribe to This Week in Tech at https://twit.tv/shows/this-week-in-tech Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: oracle.com/twit ziprecruiter.com/twit drata.com/weekintech monarchmoney.com with code TWIT Melissa.com/twit

GTA 6 trailer 2 and anticipation Grok Pivots From 'White Genocide' to Being 'Skeptical' About the Holocaust Elon Musk's apparent power play at the Copyright Office completely backfired Microsoft CEO Satya Nadella Explains How He's Making Himself Obsolete With AI How Finland's district heating systems are harvesting heat from data centers; Microsoft's project in Kirkkonummi will be the largest in the world when completed OpenAI launches Codex, an AI coding agent, in ChatGPT China begins assembling its supercomputer in space NASA engineers revive Voyager 1's dead thrusters from 15 billion miles away 25% of steam playeres play Blue Prince Jamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked ad Fortnite players can speak with Darth Vader through a James Earl Jones-voiced AI Epic Games says Apple is blocking Fortnite from the US and EU App Stores Epic wants the court to compel Apple to approve Fortnite's return to the US App Store Nextcloud accuses Google of "Big Tech gatekeeping" over Android app permissions Samsung's Galaxy S25 Edge starts off the super thin phone era Square's $399 Handheld accepts tap-to-pay at your table Montana Becomes First State To Close the Law Enforcement Data Broker Loophole - Slashdot Republicans Try to Cram Ban on AI Regulation Into Budget Reconciliation Bill The first US hub for experimental medical treatments is coming The US Army is getting in on right-to-repair They're just giving up and calling it HBO Max again Host: Leo Laporte Guests: Wil Harris, Devindra Hardawar, and Harper Reed Download or subscribe to This Week in Tech at https://twit.tv/shows/this-week-in-tech Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: oracle.com/twit ziprecruiter.com/twit drata.com/weekintech monarchmoney.com with code TWIT Melissa.com/twit

GTA 6 trailer 2 and anticipation Grok Pivots From 'White Genocide' to Being 'Skeptical' About the Holocaust Elon Musk's apparent power play at the Copyright Office completely backfired Microsoft CEO Satya Nadella Explains How He's Making Himself Obsolete With AI How Finland's district heating systems are harvesting heat from data centers; Microsoft's project in Kirkkonummi will be the largest in the world when completed OpenAI launches Codex, an AI coding agent, in ChatGPT China begins assembling its supercomputer in space NASA engineers revive Voyager 1's dead thrusters from 15 billion miles away 25% of steam playeres play Blue Prince Jamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked ad Fortnite players can speak with Darth Vader through a James Earl Jones-voiced AI Epic Games says Apple is blocking Fortnite from the US and EU App Stores Epic wants the court to compel Apple to approve Fortnite's return to the US App Store Nextcloud accuses Google of "Big Tech gatekeeping" over Android app permissions Samsung's Galaxy S25 Edge starts off the super thin phone era Square's $399 Handheld accepts tap-to-pay at your table Montana Becomes First State To Close the Law Enforcement Data Broker Loophole - Slashdot Republicans Try to Cram Ban on AI Regulation Into Budget Reconciliation Bill The first US hub for experimental medical treatments is coming The US Army is getting in on right-to-repair They're just giving up and calling it HBO Max again Host: Leo Laporte Guests: Wil Harris, Devindra Hardawar, and Harper Reed Download or subscribe to This Week in Tech at https://twit.tv/shows/this-week-in-tech Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: oracle.com/twit ziprecruiter.com/twit drata.com/weekintech monarchmoney.com with code TWIT Melissa.com/twit

GTA 6 trailer 2 and anticipation Grok Pivots From 'White Genocide' to Being 'Skeptical' About the Holocaust Elon Musk's apparent power play at the Copyright Office completely backfired Microsoft CEO Satya Nadella Explains How He's Making Himself Obsolete With AI How Finland's district heating systems are harvesting heat from data centers; Microsoft's project in Kirkkonummi will be the largest in the world when completed OpenAI launches Codex, an AI coding agent, in ChatGPT China begins assembling its supercomputer in space NASA engineers revive Voyager 1's dead thrusters from 15 billion miles away 25% of steam playeres play Blue Prince Jamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked ad Fortnite players can speak with Darth Vader through a James Earl Jones-voiced AI Epic Games says Apple is blocking Fortnite from the US and EU App Stores Epic wants the court to compel Apple to approve Fortnite's return to the US App Store Nextcloud accuses Google of "Big Tech gatekeeping" over Android app permissions Samsung's Galaxy S25 Edge starts off the super thin phone era Square's $399 Handheld accepts tap-to-pay at your table Montana Becomes First State To Close the Law Enforcement Data Broker Loophole - Slashdot Republicans Try to Cram Ban on AI Regulation Into Budget Reconciliation Bill The first US hub for experimental medical treatments is coming The US Army is getting in on right-to-repair They're just giving up and calling it HBO Max again Host: Leo Laporte Guests: Wil Harris, Devindra Hardawar, and Harper Reed Download or subscribe to This Week in Tech at https://twit.tv/shows/this-week-in-tech Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: oracle.com/twit ziprecruiter.com/twit drata.com/weekintech monarchmoney.com with code TWIT Melissa.com/twit

GTA 6 trailer 2 and anticipation Grok Pivots From 'White Genocide' to Being 'Skeptical' About the Holocaust Elon Musk's apparent power play at the Copyright Office completely backfired Microsoft CEO Satya Nadella Explains How He's Making Himself Obsolete With AI How Finland's district heating systems are harvesting heat from data centers; Microsoft's project in Kirkkonummi will be the largest in the world when completed OpenAI launches Codex, an AI coding agent, in ChatGPT China begins assembling its supercomputer in space NASA engineers revive Voyager 1's dead thrusters from 15 billion miles away 25% of steam playeres play Blue Prince Jamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked ad Fortnite players can speak with Darth Vader through a James Earl Jones-voiced AI Epic Games says Apple is blocking Fortnite from the US and EU App Stores Epic wants the court to compel Apple to approve Fortnite's return to the US App Store Nextcloud accuses Google of "Big Tech gatekeeping" over Android app permissions Samsung's Galaxy S25 Edge starts off the super thin phone era Square's $399 Handheld accepts tap-to-pay at your table Montana Becomes First State To Close the Law Enforcement Data Broker Loophole - Slashdot Republicans Try to Cram Ban on AI Regulation Into Budget Reconciliation Bill The first US hub for experimental medical treatments is coming The US Army is getting in on right-to-repair They're just giving up and calling it HBO Max again Host: Leo Laporte Guests: Wil Harris, Devindra Hardawar, and Harper Reed Download or subscribe to This Week in Tech at https://twit.tv/shows/this-week-in-tech Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: oracle.com/twit ziprecruiter.com/twit drata.com/weekintech monarchmoney.com with code TWIT Melissa.com/twit

GTA 6 trailer 2 and anticipation Grok Pivots From 'White Genocide' to Being 'Skeptical' About the Holocaust Elon Musk's apparent power play at the Copyright Office completely backfired Microsoft CEO Satya Nadella Explains How He's Making Himself Obsolete With AI How Finland's district heating systems are harvesting heat from data centers; Microsoft's project in Kirkkonummi will be the largest in the world when completed OpenAI launches Codex, an AI coding agent, in ChatGPT China begins assembling its supercomputer in space NASA engineers revive Voyager 1's dead thrusters from 15 billion miles away 25% of steam playeres play Blue Prince Jamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked ad Fortnite players can speak with Darth Vader through a James Earl Jones-voiced AI Epic Games says Apple is blocking Fortnite from the US and EU App Stores Epic wants the court to compel Apple to approve Fortnite's return to the US App Store Nextcloud accuses Google of "Big Tech gatekeeping" over Android app permissions Samsung's Galaxy S25 Edge starts off the super thin phone era Square's $399 Handheld accepts tap-to-pay at your table Montana Becomes First State To Close the Law Enforcement Data Broker Loophole - Slashdot Republicans Try to Cram Ban on AI Regulation Into Budget Reconciliation Bill The first US hub for experimental medical treatments is coming The US Army is getting in on right-to-repair They're just giving up and calling it HBO Max again Host: Leo Laporte Guests: Wil Harris, Devindra Hardawar, and Harper Reed Download or subscribe to This Week in Tech at https://twit.tv/shows/this-week-in-tech Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: oracle.com/twit ziprecruiter.com/twit drata.com/weekintech monarchmoney.com with code TWIT Melissa.com/twit

TOPICS: Break the Business guest Lana Love was tricked into competing in a fake reality singingcompetition on Nathan Fielder's “The Rehearsal” program; the Copyright Office issued a report onwhether using copyright works to train AI platforms is considered fair use; we interview Doug Martin(Doug Martin Quartet) and Chris SD (Sync Songwriter), two music professionals who were valuedcontributors to the soundtrack of Best Picture Oscar winner Anora. Visit wwwsyncsongwriter.comRate/review/subscribe to the Break the Business Podcast on iTunes, SoundCloud, Stitcher, and Google Play. Follow Ryan @ryankair and the Break the Business Podcast @thebtbpodcast. Like Break the Business on Facebook and tell a friend about the show. Visit www.ryankairalla.com to find out more about Ryan's entertainment, education, and business projects.” Hosted on Acast. See acast.com/privacy for more information.

This week on Grumpy Old Geeks: FOLLOW UP kicks off with Manus madness, a $2 million ticket to Trump's crypto cash-grab, and Elon's Boring Company worming its way into an $8 billion Amtrak boondoggle. Meanwhile, CryptoPunks gets handed off to a nonprofit like an expired Groupon—proof the NFT hype cycle ends with a 501(c)(3) and a shrug.IN THE NEWS, Microsoft trims another 3% of its workforce while a former Metaverse engineer delivers DoorDash from a trailer—living proof that “the future of work” is just working for the apps. Klarna quietly admits AI sucks at customer service and hires back actual people, just as OpenAI's reasoning models hit the brakes. The Pope wants to exorcise AI, Elon's backfiring Copyright Office coup leaves him empty-handed, and YouTube starts banning AI-faked trailers that made Screen Culture money off Marvel lies. Jamie Lee Curtis goes full Final Girl on Zuckerberg, and Tesla drama ramps up: robotaxis under investigation, employees revolting, and one poor dealership manager gets canned for telling the truth about ol' Musky. Oh, and scientists say the universe might die sooner than expected—cool cool cool.In MEDIA CANDY, Murderbot arrives May 16, NIN launches the Future Ruins Festival, and Star Trek and Star Wars both dig up classic soundtracks for some retro feels. Jessica Jones returns in Daredevil: Born Again, Fallout gets Seasons 2 and 3, and even Nobody 2 is back for more murder-dad mayhem. In THE DARK SIDE WITH DAVE, Mr. Bittner shares two truly bleak customer service horror stories and gets bamboozled by a flower shop on Brian's birthday (happy birthday, Brian!). Also: animatronic Mickey Mouse serves popcorn, Walt Disney's ghost haunts the parks, Muppets get a pre-show for their 70th, and yes, there's a guide to toilet-training your cat. Because sure, why not. Closing shout-out? Everyone is entitled to my own opinion.Sponsors:Insta360 - The first 30 people who use code “gog” at store.insta360.com get a free 45” invisible selfie stick worth $25!DeleteMe - Head over to JoinDeleteMe.com/GOG and use the code "GOG" for 20% off.Private Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordShow notes at https://gog.show/697FOLLOW UPLeave it to ManusA VIP Seat at Donald Trump's Crypto Dinner Cost at Least $2 MillionElon's Boring Company Is ‘Helping' the Government With an $8 Billion Amtrak Tunnel ProjectCryptoPunks was just sold to a nonprofitIN THE NEWSMicrosoft is laying off 3 percent of its global workforceLaid-Off Metaverse Engineer Says He Is DoorDashing and Living in a TrailerSilicon Valley's Elusive Fantasy of a Computer as Smart as YouKlarna Hiring Back Human Help After Going All-In on AIImprovements in 'reasoning' AI models may slow down soon, analysis findsThe New Pope Wants to Take on AIElon Musk's apparent power play at the Copyright Office completely backfiredCopyright Office head fired after reporting AI training isn't always fair useYouTube Cracks Down on Fake Movie Trailer Channels Making MoneyJamie Lee Curtis publicly shamed Mark Zuckerberg to remove a deepfaked adTesla's robotaxi plans have the attention of federal investigatorsA Tesla Dealership Manager Blamed Elon Musk for Tanking Sales and Was Immediately FiredTesla Employees Against ElonOpen Letter to ElonOpen Letter to Elon - @openletter2elonScientists Just Moved Up the Death Date of the UniverseMEDIA CANDYMurderbot premiers May 16thStar Trek: The Wrath of Khan Original Motion Picture SoundtrackStar Wars: The Empire Strikes Back Original Motion Picture SoundtrackNine Inch Nails Announce Future Ruins Festival, Celebrating Influential Music ComposersAndorRogue OneLong Way HomeKrysten Ritter Will Return as Jessica Jones in Daredevil: Born Again Season 2Fallout Season 2 Coming in December and Season 3 Is a GoNobody 2 | Official TrailerSuperman | Official Trailer | DCStar Trek: Strange New Worlds Finally Returns This JulyStar Trek: Prodigy May Need a New Home Again SoonESPN's streaming service will cost up to $30 per month and be called... ESPNFox One is a new streaming service that should launch before SeptemberMax Renamed HBO Max as Warner Bros. Discovery Gives UpLived Through That - Episode 76 - Andy PrieboyTHE DARK SIDE WITH DAVEDave BittnerThe CyberWireHacking HumansCaveatControl LoopOnly Malware in the BuildingA SpaceX Employee Says He Was Fired for the Most Insane ReasonYou Can Now Eat Popcorn Out of a Moving, Talking Mickey Mouse at DisneylandDisney Says It Made Its Walt Disney Robot to Remind Fans He Was an Actual PersonDisneyland Didn't Want to Do the Muppets Totally Dirty for Their 70th AnniversaryMuppets Pre-Show for World of Color Happiness! at Disneyland Resort for 70th AnniversaryHow to Toilet-Train Your Cat: 21 Days to a Litter-Free HomeHow to Toilet-Train Your Cat: 21 Days to a Litter-Free Home DownloadCLOSING SHOUT-OUTSeveryone is entitled to my own opinionSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Jia Tolentino, author of Trick Mirror and staff writer at the New Yorker, joins Offline to discuss how it's becoming harder and harder to make sense of reality, especially with AI taking over our feeds. She and Jon talk about how online distrust bleeds into life offline, parenting in this moment of endless horrors, and the inspiration (or lack thereof) behind her latest essay, "My Brain Finally Broke." But first! Jon's X account may have gotten hacked, but even a crypto scam couldn't stop him from getting his social media fix. Then, he and Max dig into Trump's attacks on the U.S. Copyright Office, and the concerns it raises over the material AI companies are using to train their models. Finally, the guys explain how the new pontiff has come out against the technology, and why “Leo” is an homage to the last pope to preside over an industrial revolution.For a closed-captioned version of this episode, click here. For a transcript of this episode, please email transcripts@crooked.com and include the name of the podcast.

The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment Trump Appointees Blocked From Entering US Copyright Office Meta's new AI glasses could have a 'super-sensing' mode with facial recognition Three things we learned about Sam Altman by scoping his kitchen The House GOP Quietly Slipped In An AI Law That Would Accidentally Ban GOP's Favorite 'Save The Children' Laws neat Gemini airline hack Interview with Emily M. Bender and Alex Hanna AI Use Damages Professional Reputation, Study Suggests Gemini smarts are coming to more Android devices Amazon Upfront 2025: Prime Video will show you AI pause ads - Fast Company E-COM: The $40 million USPS project to send email on paper The CryptoPunks NFTs are being sold to a non-profit as their value continues to fall Crypto boys are the worst.... Parisbait: I've watched every single Nicolas Cage film made so far. Here's what I learned about him – and myself Exclusive: InventWood is about to mass-produce wood that's stronger than steel Uncle Tony's Reptile Shack neal.fun Testing Paris' language proficiency and youth The uncontroversial 'thingness' of AI Artifice and Intelligence The Anti-Bookclub Tackles 'Superagency' Information literacy and chatbots as search Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Guests: Emily M. Bender and Alex Hanna Download or subscribe to Intelligent Machines at https://twit.tv/shows/intelligent-machines. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: storyblok.com/twittv-25 outsystems.com/twit bigid.com/im canary.tools/twit - use code: TWIT

The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment Trump Appointees Blocked From Entering US Copyright Office Meta's new AI glasses could have a 'super-sensing' mode with facial recognition Three things we learned about Sam Altman by scoping his kitchen The House GOP Quietly Slipped In An AI Law That Would Accidentally Ban GOP's Favorite 'Save The Children' Laws neat Gemini airline hack Interview with Emily M. Bender and Alex Hanna AI Use Damages Professional Reputation, Study Suggests Gemini smarts are coming to more Android devices Amazon Upfront 2025: Prime Video will show you AI pause ads - Fast Company E-COM: The $40 million USPS project to send email on paper The CryptoPunks NFTs are being sold to a non-profit as their value continues to fall Crypto boys are the worst.... Parisbait: I've watched every single Nicolas Cage film made so far. Here's what I learned about him – and myself Exclusive: InventWood is about to mass-produce wood that's stronger than steel Uncle Tony's Reptile Shack neal.fun Testing Paris' language proficiency and youth The uncontroversial 'thingness' of AI Artifice and Intelligence The Anti-Bookclub Tackles 'Superagency' Information literacy and chatbots as search Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Guests: Emily M. Bender and Alex Hanna Download or subscribe to Intelligent Machines at https://twit.tv/shows/intelligent-machines. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: storyblok.com/twittv-25 outsystems.com/twit bigid.com/im canary.tools/twit - use code: TWIT

The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment Trump Appointees Blocked From Entering US Copyright Office Meta's new AI glasses could have a 'super-sensing' mode with facial recognition Three things we learned about Sam Altman by scoping his kitchen The House GOP Quietly Slipped In An AI Law That Would Accidentally Ban GOP's Favorite 'Save The Children' Laws neat Gemini airline hack Interview with Emily M. Bender and Alex Hanna AI Use Damages Professional Reputation, Study Suggests Gemini smarts are coming to more Android devices Amazon Upfront 2025: Prime Video will show you AI pause ads - Fast Company E-COM: The $40 million USPS project to send email on paper The CryptoPunks NFTs are being sold to a non-profit as their value continues to fall Crypto boys are the worst.... Parisbait: I've watched every single Nicolas Cage film made so far. Here's what I learned about him – and myself Exclusive: InventWood is about to mass-produce wood that's stronger than steel Uncle Tony's Reptile Shack neal.fun Testing Paris' language proficiency and youth The uncontroversial 'thingness' of AI Artifice and Intelligence The Anti-Bookclub Tackles 'Superagency' Information literacy and chatbots as search Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Guests: Emily M. Bender and Alex Hanna Download or subscribe to Intelligent Machines at https://twit.tv/shows/intelligent-machines. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: storyblok.com/twittv-25 outsystems.com/twit bigid.com/im canary.tools/twit - use code: TWIT

The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment Trump Appointees Blocked From Entering US Copyright Office Meta's new AI glasses could have a 'super-sensing' mode with facial recognition Three things we learned about Sam Altman by scoping his kitchen The House GOP Quietly Slipped In An AI Law That Would Accidentally Ban GOP's Favorite 'Save The Children' Laws neat Gemini airline hack Interview with Emily M. Bender and Alex Hanna AI Use Damages Professional Reputation, Study Suggests Gemini smarts are coming to more Android devices Amazon Upfront 2025: Prime Video will show you AI pause ads - Fast Company E-COM: The $40 million USPS project to send email on paper The CryptoPunks NFTs are being sold to a non-profit as their value continues to fall Crypto boys are the worst.... Parisbait: I've watched every single Nicolas Cage film made so far. Here's what I learned about him – and myself Exclusive: InventWood is about to mass-produce wood that's stronger than steel Uncle Tony's Reptile Shack neal.fun Testing Paris' language proficiency and youth The uncontroversial 'thingness' of AI Artifice and Intelligence The Anti-Bookclub Tackles 'Superagency' Information literacy and chatbots as search Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Guests: Emily M. Bender and Alex Hanna Download or subscribe to Intelligent Machines at https://twit.tv/shows/intelligent-machines. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: storyblok.com/twittv-25 outsystems.com/twit bigid.com/im canary.tools/twit - use code: TWIT

In this week's roundup of the latest news in online speech, content moderation and internet regulation, Mike is joined by guest host Cathy Gellis, an internet and First Amendment lawyer. Together, they cover:The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment (Techdirt)Trump fires Copyright Office director after report raises questions about AI training (TechCrunch)Elon Musk's X caves to ‘censorship' demand from India as tensions build with Pakistan (AFP)In the government's war on ‘disinformation', facts are collateral damage (The Hindu)Elon Musk's Twitter: Indian government has asked us to block 8,000 accounts, however, we disagree as (Times of India)Elon Musk's Grok AI Can't Stop Talking About ‘White Genocide' (Wired)White Afrikaner brought to US by Trump administration has history of antisemitic posts (The Guardian)U.S. says it is now monitoring immigrants' social media for antisemitism (NPR)Kanye's Nazi Song Is All Over Instagram (404 Media)Instagram and Facebook Blocked and Hid Abortion Pill Providers' Posts (NY Times)Wikipedia fights the UK's ‘flawed' and ‘burdensome' online safety rules (The Verge)What Attacks on Wikipedia Reveal about Free Expression (Tech Policy Press)Missouri AG Thinks Supreme Court Ruling Lets Him Control Social Media Moderation (It Doesn't) (Techdirt)This episode is brought to you with financial support from the Future of Online Trust & Safety Fund. Ctrl-Alt-Speech is a weekly podcast from Techdirt and Everything in Moderation. Send us your feedback at podcast@ctrlaltspeech.com and sponsorship enquiries to sponsorship@ctrlaltspeech.com. Thanks for listening.

The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment Trump Appointees Blocked From Entering US Copyright Office Meta's new AI glasses could have a 'super-sensing' mode with facial recognition Three things we learned about Sam Altman by scoping his kitchen The House GOP Quietly Slipped In An AI Law That Would Accidentally Ban GOP's Favorite 'Save The Children' Laws neat Gemini airline hack Interview with Emily M. Bender and Alex Hanna AI Use Damages Professional Reputation, Study Suggests Gemini smarts are coming to more Android devices Amazon Upfront 2025: Prime Video will show you AI pause ads - Fast Company E-COM: The $40 million USPS project to send email on paper The CryptoPunks NFTs are being sold to a non-profit as their value continues to fall Crypto boys are the worst.... Parisbait: I've watched every single Nicolas Cage film made so far. Here's what I learned about him – and myself Exclusive: InventWood is about to mass-produce wood that's stronger than steel Uncle Tony's Reptile Shack neal.fun Testing Paris' language proficiency and youth The uncontroversial 'thingness' of AI Artifice and Intelligence The Anti-Bookclub Tackles 'Superagency' Information literacy and chatbots as search Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Guests: Emily M. Bender and Alex Hanna Download or subscribe to Intelligent Machines at https://twit.tv/shows/intelligent-machines. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: storyblok.com/twittv-25 outsystems.com/twit bigid.com/im canary.tools/twit - use code: TWIT

The Copyright Office Issues A Largely Disappointing Report On AI Training, And Once Again A Major Fair Use Analysis Inexplicably Ignores The First Amendment Trump Appointees Blocked From Entering US Copyright Office Meta's new AI glasses could have a 'super-sensing' mode with facial recognition Three things we learned about Sam Altman by scoping his kitchen The House GOP Quietly Slipped In An AI Law That Would Accidentally Ban GOP's Favorite 'Save The Children' Laws neat Gemini airline hack Interview with Emily M. Bender and Alex Hanna AI Use Damages Professional Reputation, Study Suggests Gemini smarts are coming to more Android devices Amazon Upfront 2025: Prime Video will show you AI pause ads - Fast Company E-COM: The $40 million USPS project to send email on paper The CryptoPunks NFTs are being sold to a non-profit as their value continues to fall Crypto boys are the worst.... Parisbait: I've watched every single Nicolas Cage film made so far. Here's what I learned about him – and myself Exclusive: InventWood is about to mass-produce wood that's stronger than steel Uncle Tony's Reptile Shack neal.fun Testing Paris' language proficiency and youth The uncontroversial 'thingness' of AI Artifice and Intelligence The Anti-Bookclub Tackles 'Superagency' Information literacy and chatbots as search Hosts: Leo Laporte, Jeff Jarvis, and Paris Martineau Guests: Emily M. Bender and Alex Hanna Download or subscribe to Intelligent Machines at https://twit.tv/shows/intelligent-machines. Join Club TWiT for Ad-Free Podcasts! Support what you love and get ad-free shows, a members-only Discord, and behind-the-scenes access. Join today: https://twit.tv/clubtwit Sponsors: storyblok.com/twittv-25 outsystems.com/twit bigid.com/im canary.tools/twit - use code: TWIT

I denne episode skal vi høre hvordan DSB bruger mange forskellige slags AI til mange forskellige slags opgaver – ude på sporene og inde i kontorerne.Et af de største projekter er Train Tracking Intelligence, TTI, som med masser af data og maskinlæring forudsiger forsinkede togs rejse gennem landet.Vi vender dog også et andet projekt, der analyserer video-feeds for at advare lokomotivførere hvis der er mennesker på sporene, og dykker ned i DSBs mere generelle anvendelse af AI, inklusive selvfølgelig generativ AI.I Siden Sidst skal det blandt andet handle om LEGO, NotebookLM og Gefion.Lyt med!

Er is weer veel gebeurd, dat werden we hier gewaar! Deze week bespreken we nieuwe modellen van Google, Mistral en Alibaba, onduidelijkheid rond AI-training op SoundCloud, en een verrassend rapport van het Copyright Office.In de deep dive hebben we het over Klarna's bocht terug naar menselijke klantendienst, in de tool tip hebben we het over een nieuwe concurrent voor Duolingo, en als afsluiter: Google's logo kreeg voor het eerst in tien jaar een upgrade. Mét gradient. Wauw!Tech scoopsGoogle's Gemini 2.5 Pro is here with bigger numbers and great vibesAlibaba unveils advanced Qwen 3 AI as Chinese tech rivalry intensifiesSoundCloud changes policies to allow AI training on user contentTrump fires Copyright Office chief after report opposes AI fair useUnveiling our innovative new TV experienceAI-powered bots post controversial arguments in real Reddit experimentDeep diveKlarna reinvests in human talent after AI chatbot backlashTool tipHow It's Made: Little Language Lessons uses Gemini's multilingual capabilities to personalize language learningWatercooler show-offGoogle updates its G logo with subtle but significant changes

The Trump administration has actually impaneled a grand jury to investigate Letisha James for that real estate deal we talked about a couple weeks ago. Trump fired the FEMA Chief.The Postal Board appointed a new Postmaster General.A federal judge ruled AGAINST Trump's January 6th pardons covering unrelated crimes.Pete Hegseth had another super bad week.The Mayor of Newark was arrested outside an ICE facility.Plus, we have some Giuliani news.Thank you, CBDistillery! Use promo code CLEANUP at  CBDistillery.com for 25% off your purchase. Specific product availability depends on individual state regulations. Allison Gillhttps://muellershewrote.substack.com/https://bsky.app/profile/muellershewrote.comHarry DunnHarry Dunn | Substack@libradunn1.bsky.social on BlueskyWant to support this podcast and get it ad-free and early?Go to: https://www.patreon.com/aisle45podTell us about yourself and what you like about the show - http://survey.podtrac.com/start-survey.aspx?pubid=BffJOlI7qQcF&ver=short

Jason Howell and Jeff Jarvis are back for another episode of AI Inside. We cover NVIDIA and AMD's $10B Saudi chip deal, US-Saudi tech politics and China's AI ambitions, AI leaders flip-flopping on regulation, copyright office drama and AI training fair use, Big Tech's AI midlife crisis, Google's Gemini expands to cars and wearables, scam protection for Android, ChatGPT's impact on student learning, professors caught using AI, authenticity in AI-powered hiring, and a preview of our Intel AIPC interview coming Saturday. Support the show on Patreon! http://patreon.com/aiinsideshow Subscribe to the YouTube channel! http://www.youtube.com/@aiinsideshow Enjoying the AI Inside podcast? Please rate us ⭐⭐⭐⭐⭐ in your podcatcher of choice! Note: Time codes subject to change depending on dynamic ad insertion by the distributor. CHAPTERS: 0:03:15 - Nvidia, AMD Sell Chips to Saudi Arabia for AI Data Centers 0:08:32 - ⁠AI execs used to beg for regulation. Not anymore.⁠ 0:11:46 - The Giants of Silicon Valley Are Having a Midlife Crisis Over AI 0:17:41 - Trump fires head of Copyright Office two days following report that AI training may not be fair use 0:28:27 - Audible unveils plans to use AI voices to narrate audiobooks 0:32:46 - ⁠ Gemini smarts are coming to more Android devices & Android Faithful interview with Patrick Brady, VP of Android for Cars at Google about Gemini on Android Auto 0:44:55 - The effect of ChatGPT on students' learning performance, learning perception, and higher-order thinking: insights from a meta-analysis 0:49:53 - The Professors Are Using ChatGPT, and Some Students Aren't Happy About It 0:55:31 - Deepfakes, Scams, and the Age of Paranoia 0:58:07 - Robert Hallock, Channel Segment GM at Intel talks about the AI PC Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, we discuss the Trump administration's decision to rescind the AI Diffusion Framework (1:34), the message of top AI executives in their recent Senate testimony (20:03), what AI adoption could mean for the IRS (35:15), the U.S. Copyright Office's latest report on generative AI training (44:44), and what AI policy might look like in the new papacy (49:24).

Today's show: Jason, Lon & Alex are back with a spicy Monday episode of This Week in Startups. Jason goes off on unions vs capitalism, we dig into why fewer seed startups are making it to Series A, and look at OpenAI's quiet copyright land grab. Plus: YC says Google should be broken up (then kind of walks it back), Perplexity's wild $14B valuation, and Saudi Arabia wants its own national AI. We wrap with an Office Hours chat with Kevin Bondzio from Streamfog on the future of AR ads in livestreaming.*Timestamps:(2:38) Why Jason's obsessed with Reddit's anti-work community(10:30) Coda - Get started for free at https://coda.io/twist(12:21) Seed Stage Graduation rates(20:43) LinkedIn Jobs - Post your first job for free at https://www.linkedin.com/twist(26:11) What's going on with Tech M&A?(30:04) Northwest Registered Agent. Form your entire business identity in just 10 clicks and 10 minutes. Get more privacy, more options, and more done—visit https://www.northwestregisteredagent.com/twist(33:50) What's going on with the Copyright Office?(37:24) Licensing and competitive advantage in the AI era(48:28) AI and the future of subscription-based content(56:42) StreamFog wants to change the way creators advertise(1:14:13) Perplexity's mega-valuation gets even mega-er(1:19:13) How Saudi Arabia just became an AI startup(1:22:05) Y Combinator pokes it's nose in the Google antitrust case*Subscribe to the TWiST500 newsletter: https://ticker.thisweekinstartups.comCheck out the TWIST500: https://www.twist500.comSubscribe to This Week in Startups on Apple: https://rb.gy/v19fcp*Links from episode:Check out Streamfog: https://streamfog.com/Check out Peter Walkers post on “Graduating from Seed to Series A” https://x.com/PeterJ_Walker/status/1921288778192200087Learn about the HUMAIN here: https://www.spa.gov.sa/en/N2316474*Follow Kev:X: https://x.com/kevbondzioLinkedIn: https://www.linkedin.com/in/kevin-bondzio/*Follow Lon:X: https://x.com/lons*Follow Alex:X: https://x.com/alexLinkedIn: ⁠https://www.linkedin.com/in/alexwilhelm*Follow Jason:X: https://twitter.com/JasonLinkedIn: https://www.linkedin.com/in/jasoncalacanis*Thank you to our partners:(10:30) Coda - Get started for free at https://coda.io/twist(20:43) LinkedIn Jobs - Post your first job for free at https://www.linkedin.com/twist(30:04) Northwest Registered Agent. Form your entire business identity in just 10 clicks and 10 minutes. Get more privacy, more options, and more done—visit https://www.northwestregisteredagent.com/twist*Great TWIST interviews: Will Guidara, Eoghan McCabe, Steve Huffman, Brian Chesky, Bob Moesta, Aaron Levie, Sophia Amoruso, Reid Hoffman, Frank Slootman, Billy McFarland*Check out Jason's suite of newsletters: https://substack.com/@calacanis*Follow TWiST:Twitter: https://twitter.com/TWiStartupsYouTube: https://www.youtube.com/thisweekinInstagram: https://www.instagram.com/thisweekinstartupsTikTok: https://www.tiktok.com/@thisweekinstartupsSubstack: https://twistartups.substack.com*Subscribe to the Founder University Podcast: https://www.youtube.com/@founderuniversity1916

Scams are getting smarter—and authors are the new target. In this week's publishing news, we cover what to avoid, what to watch for, and the latest tools helping indie authors succeed. Plus, the U.S. Copyright Office just made your publishing life a lot easier. Book Award Pro - https://DaleLinks.com/BookAwardPro (affiliate link) Subscribe to The Self-Publishing Hub - https://TheSelfPublishingHub.com Subscribe to my email newsletter - https://DaleLinks.com/SignUp Join Channel Memberships - https://DaleLinks.com/Memberships Join Me on Discord - https://DaleLinks.com/Discord Check out my main YouTube channel - https://www.youtube.com/@DaleLRoberts My Books - https://DaleLinks.com/MyBooks Wanna tip me? Visit https://dalelroberts.gumroad.com/coffee. Sources: Spotify for Authors Terms of Use - https://www.spotify.com/us/legal/spotify-for-authors-terms-and-conditions/ INAudio - https://www.inaudio.com/  U.S. Copyright Office Releases New Copyright Registration Toolkit - https://www.copyright.gov/newsnet/2025/1070.html Two to Avoid: Book Order Scams and Fake Reviews - https://writerbeware.blog/2025/05/09/two-to-avoid-book-order-scams-and-fake-reviews/  Getcovers: Top 10 Tools for Indie Authors 2025 - https://getcovers.com/blog/best-tools-for-indie-authors/ Get Authentic Book Reviews - https://getauthenticbookreviews.com/ Speech Transcription with parakeet - https://huggingface.co/spaces/nvidia/parakeet-tdt-0.6b-v2 ProseWrite - https://DaleLinks.com/ProseWrite (affiliate link) Bookvault Q&A Webinar - https://www.youtube.com/@Bookvault_app/streams  StoryOrigin: Creating With Eyes Wide Open: Author Life in a Capitalist World - https://us02web.zoom.us/meeting/register/LcUd65SpR1mWS3WeiwajyQ#/registration  Authors Guild: Translation Contracts 101 - https://us02web.zoom.us/webinar/register/WN_mZn6cNY-RKK3AbCk9a3G_A#/registration  Dibbly Create: Scale Your KDP Business Fast: Publish Market-Ready Books in 30 Minutes - https://dibbly.com/join-free-webinar/?aff=DALE (affiliate link) Self-Publishing with ALLi: The Power of Relationships in Author Marketing - https://selfpublishingadvice.org/podcast-power-of-relationships/ Author Nation - https://DaleLinks.com/AuthorNation (affiliate link) 30 Books in 30 Days Giveaway - https://DaleLinks.com/30Books  Credit:  Authors Guild - https://authorsguild.org/  Where noted, some outbound links financially benefit the channel through affiliate programs. I only endorse programs, products, or services I use and can stand confidently behind. These links do not affect your purchase price and greatly helps to building and growing this channel. Thanks in advance for understanding! - Dale L. Roberts

This Day in Legal History: Brady v. MarylandOn May 13, 1963, the U.S. Supreme Court issued its landmark ruling in Brady v. Maryland, fundamentally reshaping criminal procedure and the obligations of prosecutors. The case involved John Brady, who was convicted of murder in Maryland state court. Although he admitted involvement, he claimed he did not commit the actual killing. During the trial, the prosecution withheld a statement from Brady's co-defendant that supported this claim. After Brady was sentenced to death, his attorneys discovered the statement and appealed, arguing that suppression of such exculpatory evidence violated his constitutional rights.The Supreme Court agreed, holding in a 7–2 decision that suppression by the prosecution of evidence favorable to an accused who has requested it violates due process, regardless of whether the prosecution acted in good faith or bad faith. This principle became known as the Brady Rule, and it remains one of the cornerstones of a fair trial in American criminal justice. The Court emphasized that the goal of a trial is not to win a case but to ensure justice is done.The Brady decision led to a broader understanding of prosecutorial obligations and placed enforceable limits on government discretion. Over time, it has been extended and clarified through subsequent cases, shaping what material must be disclosed and when. Still, Brady violations continue to arise in courts, often forming the basis for appeals or post-conviction relief. The ruling reflects a deep constitutional commitment to due process and underscores the state's duty to act not only as an advocate but also as a guardian of fairness.President Donald Trump abruptly fired Shira Perlmutter, the Register of Copyrights, on May 10, 2025, just two days after also dismissing Librarian of Congress Carla Hayden, who had appointed Perlmutter in 2020. The U.S. Copyright Office confirmed the termination via a statement, noting that Perlmutter received an email from the White House informing her that her role was ended “effective immediately.” The administration has not publicly explained the firing, and Perlmutter has not commented.The move came shortly after the Copyright Office released a report addressing how generative AI models interact with copyright law. The report urged caution on government intervention and emphasized the importance of voluntary licensing systems. It drew a line between research-related uses of AI, which are unlikely to harm copyright holders, and commercial uses that replicate copyrighted content, especially when done through unauthorized access—arguing the latter may exceed fair use.Rep. Joe Morelle (D-N.Y.) condemned the dismissal, calling it an "unprecedented power grab" and linking it to Perlmutter's refusal to support Elon Musk's push to use copyrighted material for AI training. The timing of her removal, coming one day after the report's release, has intensified speculation about political motives behind the firing.Trump Terminates US Copyright Office Director in New Shakeup (1)Everything is bigger in Texas, including policy failures. The latest—an expensive exercise in public policy theater that trades taxpayer dollars for ideological victory laps. With Governor Greg Abbott poised to sign Senate Bill 2 into law, Texas is now on track to funnel $1 billion away from public education and into private schools, starting in the 2026-27 school year. And make no mistake: this isn't about "school choice"—it's about abandoning public schools under the rhetorical cover of parental empowerment.Supporters say it's about letting families choose the education that “fits their child's path,” but the real fit here is between a regressive policy and a Republican donor wishlist. Up to 20% of the funds will be available to families earning over $160,000—so yes, the state is subsidizing private tuition for households that already have the means. Meanwhile, the public schools left behind are told to make do with less.Texas already ranks 38th in the nation in per-student funding, and public schools are still reeling from the $7.6 billion lawmakers withheld last session to hold them hostage for this very proposal. Districts have been cutting staff, closing campuses, and hiring uncertified teachers to stay afloat. Now they're being told they can have their crumbs—so long as a chunk of the loaf goes to private institutions that aren't accountable to the same standards, can't be compelled to admit students, and won't have to administer the same state tests used to judge public schools.This is a policy that spends public money without public accountability. It privileges private choice over public obligation. And it's being sold with the same warmed-over talking points that ignore what the data keeps telling us: vouchers don't reliably improve academic outcomes, especially not for the low-income students lawmakers claim to be championing.But the most corrosive effect isn't just fiscal—it's philosophical. When a state government diverts taxpayer dollars to schools that don't have to serve every child, it's not expanding opportunity. It's signaling that public education is optional, a backup plan, a place for the kids who didn't win the voucher lottery.Texas isn't innovating—it's retreating. And when the dust settles, it won't be the parents cashing the checks who pay the highest price. It'll be the millions of Texas students left in schools that the state funded just enough to fail.Private school vouchers head to Abbott's desk to become lawMy column for Bloomberg this week focuses on the quiet but dangerous implications of President Donald Trump's plan to reassign IRS criminal investigators from pursuing tax crimes to enforcing immigration law. This isn't just bureaucratic tinkering—it's a direct hit to the fragile deterrence model at the heart of our voluntary tax system. That system relies on the perception that the IRS is always watching, even if the chance of an audit is low. When that perception erodes, so does compliance.I argue that this shift weakens a key psychological pillar of tax law: the belief that evading taxes carries real consequences. Without the looming presence of tax enforcement, some taxpayers begin to wonder—sometimes out loud—whether they still need to play by the rules. I've seen this firsthand in conversations with clients and students. The risk of noncompliance starts to look more like a gamble than a crime.Public, high-profile enforcement has always served a broader messaging purpose: make examples of a few to deter many. But moving agents away from tax cases undermines that strategy and signals that enforcement is now a political tool, not a consistent application of law. Once that belief spreads, taxpayers may stop viewing payment as a civic duty and start viewing it as optional—especially if they believe others are getting away with cheating.I close by warning that this perception shift, once embedded, is hard to undo. Tax compliance is held together by trust as much as enforcement. Undermining one weakens the whole system. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

OpenAI versucht Microsoft von einer offenen Beziehung zu überzeugen. China und die USA schließen einen fragilen Zollfrieden. Unterdessen hat SAP seine Programme für Geschlechtervielfalt aufgrund politischer Einflüsse aus den USA gestrichen. Wie schätzt Pip Googles Zukunft ein? Klarna rudert beim Thema AI zurück, während Amazons Prime Video die US-Streaming-Landschaft mit seinem Werbeangebot verändert. IONOS startet mit starkem Wachstum ins Jahr. Katar schenkt der Trump-Regierung ein Flugzeug und der Einfluss russischer Agenten auf Elon Musk wirft Fragen auf.  Unterstütze unseren Podcast und entdecke die Angebote unserer Werbepartner auf ⁠⁠⁠⁠⁠doppelgaenger.io/werbung⁠⁠⁠⁠⁠. Vielen Dank!  Philipp Glöckler und Philipp Klöckner sprechen heute über: (00:00:00) Zollpause (00:04:00) SAP DEI (00:11:15) OpenAI Microsoft (00:16:15) Google (00:34:00) Klarna (00:40:00) Amazon Prime Werbung (00:43:50) Ionos Earnings (00:46:15) Katar Flugzeug  (00:51:25) ZDF Rohstoffe Elon (00:55:40) Humain (01:01:00) Papst Leo  Shownotes China und USA senken Zölle für 90 Tage – washingtonpost.com SAP: Programme für Geschlechtervielfalt gestrichen – zeit.de OpenAI Microsoft Verhandlungen – ft.com Google entwickelt KI-Agenten-Software vor Jahreskonferenz – reuters.com Google CTR-Studie: KI-Überblicke steigen, Klickrate sinkt – searchenginejournal.com Klarna verlangsamt KI-gesteuerte Stellenstreichungen – bloomberg.com Prime Video Werbe-Tarif erreicht 130 Mio. Menschen in den USA – hollywoodreporter.com Katar in Gesprächen mit Trump-Administration über Flugzeuggeschenk – washingtonpost.com Ex-FBI-Mann: Musk war Ziel russischer Agenten – zdf.de Saudi-Arabien startet KI-Unternehmen Humain vor Donald-Trump-Besuch – ft.com Dutzende weiße Südafrikaner landen in den USA unter Trump-Flüchtlingsplan – bbc.com Behauptungen von weißem Genozid 'nicht real', entscheidet südafrikanisches Gericht – bbc.com Trump entlässt Direktor des U.S. Copyright Office – cbsnews.com Papst Leo: Künstliche Intelligenz als Herausforderung für die Menschheit – edition.cnn.com

A major student engagement platform falls victim to the ClickFix social engineering attack. Google settles privacy allegations with Texas for over one point three billion dollars. Stores across the UK face empty shelves due to an ongoing cyberattack. Ascension Health reports that over 437,000 patients were affected by a third-party data breach. A critical zero-day vulnerability in SAP NetWeaver is being actively exploited. Researchers uncover two major cybersecurity threats targeting IT admins and cloud systems. U.S. prosecutors charge three Russians and one Kazakhstani in connection with the takedown of two major botnets. A new tool disables Microsoft Defender by tricking Windows into thinking a legitimate antivirus is installed. Tim Starks, Senior Reporter from CyberScoop, discusses congressional reactions to White House budget cut proposals for CISA. Fair use faces limits in generative AI. Remember to leave us a 5-star rating and review in your favorite podcast app. Miss an episode? Sign-up for our daily intelligence roundup, Daily Briefing, and you'll never miss a beat. And be sure to follow CyberWire Daily on LinkedIn. CyberWire Guest We welcome back Tim Starks, Senior Reporter from CyberScoop, discussing congressional reactions to White House budget cut proposals for CISA. You can find background information in these articles:  House appropriators have reservations — or worse — about proposed CISA cuts⁠ ⁠Sen. Murphy: Trump administration has ‘illegally gutted funding for cybersecurity⁠' Selected Reading iClicker website compromised with fake ClickFix CAPTCHA installing malware (BeyondMachines.net) Google Agrees to $1.3 Billion Settlement in Texas Privacy Lawsuits (SecurityWeek) Fears 'hackers still in the system' leave Co-op shelves running empty across UK (The Record) 437,000 Impacted by Ascension Health Data Breach (SecurityWeek) SAP NetWeaver Vulnerability Exploited in Wild by Chinese Hackers (Cyber Security News) New SEO Poisoning Campaign Targeting IT Admins With Malware (Hackread) Three Russians, one Kazakhstani charged in takedown of Anyproxy and 5socks botnets (The Record) Defendnot — A New Tool That Disables Windows Defender by Posing as an Antivirus Solution (Cyber Security News) Five Takeaways from the Copyright Office's Controversial New AI Report (Copyright Lately)  Share your feedback. We want to ensure that you are getting the most out of the podcast. Please take a few minutes to share your thoughts with us by completing our brief listener survey as we continually work to improve the show.  Want to hear your company in the show? You too can reach the most influential leaders and operators in the industry. Here's our media kit. Contact us at cyberwire@n2k.com to request more info. The CyberWire is a production of N2K Networks, your source for strategic workforce intelligence. © N2K Networks, Inc. Learn more about your ad choices. Visit megaphone.fm/adchoices

The recent U.S.-China tariff truce has led to a significant surge in global markets, with the U.S. reducing tariffs on Chinese goods from 145% to 30% and China lowering its tariffs on American imports from 125% to 10%. While this agreement has provided short-term relief, it has also triggered caution among Chief Information Officers (CIOs), who are now deferring IT projects and prioritizing cost management. A survey indicates that nearly two-thirds of IT leaders are focusing on cost control, with many reporting delays in discretionary IT spending, reflecting a shift from initial optimism to a more cautious approach.In the realm of artificial intelligence, the U.S. Copyright Office has issued a report warning that generative AI companies may be infringing copyright laws by using creators' works without permission. This has raised significant legal and political concerns, especially following the dismissal of the office's director shortly after the report's release. The implications for IT service providers are profound, as they must now navigate increased legal ambiguity and compliance risks related to the provenance of training data used in AI models.Moreover, a recent survey revealed that many business leaders who implemented AI-driven layoffs regret their decisions, with over half acknowledging that their choices were misguided. As organizations face a global skills shortage, experts caution against hastily reducing headcount without a strategic plan for workforce transformation. The Society for Human Resource Management reports that a significant portion of jobs is at risk of displacement due to automation, emphasizing the need for reskilling and upskilling workers in vulnerable roles.Finally, the emergence of Answer Engine Optimization (AEO) marks a shift in digital marketing strategies, focusing on optimizing content for AI-driven conversational interfaces rather than traditional search engine optimization. As generative AI platforms reshape how consumers access information, businesses must adapt their content strategies to remain visible in an evolving digital landscape. This shift underscores the importance of providing tangible value in services, as consumers increasingly prioritize measurable business outcomes over ideological narratives. Four things to know today 00:00 Markets Rally on U.S.–China Tariff Truce, But CIOs and Consumers Signal Deeper Economic Uncertainty05:32 Copyright, Click-to-Cancel, and the Rise of AI Oversight: Three U.S. Signals IT Leaders Shouldn't Ignore09:42 Automation Without Alignment: Firms That Cut Staff for AI Now Face Strategic Reversals13:06 AI-Native Discovery Rises: Answer Engine Optimization Signals SEO's Next Evolution Supported by:  https://cometbackup.com/?utm_source=mspradio&utm_medium=podcast&utm_campaign=sponsorshiphttps://www.huntress.com/mspradio/ All our Sponsors: https://businessof.tech/sponsors/ Do you want the show on your podcast app or the written versions of the stories? Subscribe to the Business of Tech: https://www.businessof.tech/subscribe/Looking for a link from the stories? The entire script of the show, with links to articles, are posted in each story on https://www.businessof.tech/ Support the show on Patreon: https://patreon.com/mspradio/ Want to be a guest on Business of Tech: Daily 10-Minute IT Services Insights? Send Dave Sobel a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/businessoftech Want our stuff? Cool Merch? Wear “Why Do We Care?” - Visit https://mspradio.myspreadshop.com Follow us on:LinkedIn: https://www.linkedin.com/company/28908079/YouTube: https://youtube.com/mspradio/Facebook: https://www.facebook.com/mspradionews/Instagram: https://www.instagram.com/mspradio/TikTok: https://www.tiktok.com/@businessoftechBluesky: https://bsky.app/profile/businessof.tech

In this week's AuthorU-Your Guide to Book Publishing, Host Dr. Judith Briles invites Dan Miller, the copyright detective, to join her for a lively and informative hour of how to protect your book You takeaways include: • Copyright Insights for Authors in the Age of AI. • Copyright rules for registering a book that is AI generated. • What is AI generated and AI assistance and why authors must know the difference. • What three words should be included on your copyright page. • How the Copyright Office determines if a book that used AI can be copyrighted … or not. • What the Copyright Office wants to know about the use of AI of a copyright registration application. • What 5 things authors can't copyright. And, of course, much more. Tune in for lots of ideas and how-to tactics via the AuthorU-Your Guide to Book Publishing podcast. It's ranked in the Top Ten of bookmarketing campaigns. Since its inception seven years ago, the AuthorU-Your Guide to Book Publishing podcast with over 21 million listeners downloading various shows for practical publishing and book marketing guidance. Join me and become a regular subscriber.

AI is building faster than the law can keep up. In this episode of KP Unpacked — the number one podcast in AEC — Jeff Echols and Frank Lazaro dive into a messy question every firm needs to answer: Who owns the work when AI creates it?From copyright law updates to court cases nobody's talking about yet, they break down where the real risks are for architects, contractors, owners, and innovators. You'll learn why "lazy AI" is a legal nightmare, where the real landmines are for your firm, and why your next big project needs strong AI policies before the first line is drawn.Key takeaways:Why the U.S. Copyright Office says human authorship is still kingHow firms can protect themselves when using AI-generated contentWhere AEC companies are most vulnerable — and why graphics pose bigger risks than textWhy starting with your own work matters more than everHow upcoming lawsuits could change the rules again — fastWhether you're drafting, rendering, or pitching, understanding AI ownership could save your firm a lot more than pride.

Earlier this year, the US Copyright Office issued the second part of its long anticipated report on copyright and artificial intelligence, which was focused on issues of copyrightability. Today I'm very excited to share my conversation with one of the authors of that report, Jalyce Mangum, who serves as AttorneyAdviser to the Office of General Counsel at the U.S. Copyright Office.Resources from the U.S. Copyright Office:Copyright and Artificial Intelligence Landing PageCopyright and Artificial Intelligence, Part 2: CopyrightabilityCopyright and Artificial intelligence, Part 1: Digital ReplicasCopyright Registration Guidance for Works Containing AI-Generated MaterialsEngage Yor CreativityWhat Musicians Should Know About CopyrightSubscribe to Copyright Office E-mail Updates: https://www.copyright.gov/subscribe/Contact the Copyright Office in English or Spanish for assistance or to request a speaker: Contact Form and Speaker Request Form

Artificial intelligences raises storms of questions in every domain it touches. Chief among them, copyright questions. Now the U.S. Copyright Office, a Congressional agency, has completed the second of two studies of AI and copyrights. This one deals with whether you can copyright outputs created using AI. For more, we turn to the Copyright Office's deputy general counsel, Emily Chapuis. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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

Artists can copyright works they made with the help of artificial intelligence, according to a new report by the U.S. Copyright Office that could further clear the way for the use of AI tools in Hollywood, the music industry and other creative fields. The nation's copyright office, which sits in the Library of Congress and is not part of the executive branch, receives about half a million copyright applications per year covering millions of individual works. It has increasingly been asked to register works that are AI-generated. And while many of those decisions are made on a case-by-case basis, the report issued clarifies the office's approach as one based on what the top U.S. copyright official describes as the "centrality of human creativity" in authoring a work that warrants copyright protections. "Where that creativity is expressed through the use of AI systems, it continues to enjoy protection," said a statement from Register of Copyrights Shira Perlmutter, who directs the office. An AI-assisted work could be copyrightable if an artist's handiwork is perceptible. A human adapting an AI-generated output with "creative arrangements or modifications" could also make it fall under copyright protections. The report follows a review that began in 2023 and fielded opinions from thousands of people that ranged from AI developers to actors and country singers. It shows the copyright office will continue to reject copyright claims for fully machine-generated content. A person simply prompting a chatbot or AI image generator to produce a work doesn't give that person the ability to copyright that work, according to the report. "Extending protection to material whose expressive elements are determined by a machine ... would undermine rather than further the constitutional goals of copyright," Perlmutter said. Not addressed in the report is the debate over copyrighted human works that are being pulled from the internet and other sources and ingested to train AI systems, often without permission or compensation. Visual artists, authors, news organizations and others have sued AI companies for copyright theft in cases that are still working through U.S. courts. This article was provided by The Associated Press.

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. 
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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 theatres 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 cancelled 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 Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – 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 Centre 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 
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In this episode of "ThinkFuture," host Chris Kalaboukis tackles the hot topic of copyright and AI-generated art. He dives into a recent shift from the U.S. Copyright Office, which once said AI art couldn't be copyrighted but now says it can—though who owns it is still a gray area. Chris, not a lawyer but a big thinker, argues that if you type a prompt into an AI image generator—like “bats soaring through a dark sky with glowing eyes”—you're the creative spark behind it. He compares it to using Photoshop: the tool does the heavy lifting, but your idea makes it happen. Chris believes the copyright should go to the person entering the prompt, since without that input, the image wouldn't exist. He leaves us pondering if the law will catch up to this logic in our AI-driven world.---The First Future Planner: Record First, Action Later: https://foremark.usBe A Better YOU with AI: Join The Community: ⁠https://10xyou.us⁠Get AIDAILY every weekday. ⁠https://aidaily.us⁠My blog: ⁠https://thinkfuture.com

This week, we discuss cloud's never-ending “early innings,” OpenAI Canvas vs. Gemini, and Dell's RTO reversal. Plus, is there such a thing as too much optimism? Watch the YouTube Live Recording of Episode (https://www.youtube.com/watch?v=9KcCt6y1Tao) 505 (https://www.youtube.com/watch?v=9KcCt6y1Tao) Runner-up Titles Fastball to the head Not enough AI eggs Toxic Positivity Rundown Cote's Early Innings Research (https://bsky.app/profile/cote.io/post/3lgse46resc26) S (https://speakerdeck.com/cote/confusing-cloud)lides and stream recording of presenting it at cfgmgmtcamp 2025 (https://speakerdeck.com/cote/confusing-cloud) Cloud Revenue Microsoft Q2 cloud revenue falls short of expectations, sending (https://finance.yahoo.com/news/microsoft-q2-cloud-revenue-falls-short-of-expectations-sending-stock-lower-165353431.html) the (https://finance.yahoo.com/news/microsoft-q2-cloud-revenue-falls-short-of-expectations-sending-stock-lower-165353431.html) stock lower (https://finance.yahoo.com/news/microsoft-q2-cloud-revenue-falls-short-of-expectations-sending-stock-lower-165353431.html) Alphabet shares drop as much as 9% on revenue miss, soaring AI investments (https://www.cnbc.com/2025/02/04/alphabet-q4-earnings-report-2024.html) Google parent Alphabet's earnings disappoint Wall Street amid stiff AI competition (https://www.theguardian.com/technology/2025/feb/04/google-alphabets-q4-earnings) DeepSeek Debates: Chinese Leadership On Cost, True Training Cost, Closed Model Margin Impacts (https://semianalysis.com/2025/01/31/deepseek-debates/) DeepSeek Debates: Chinese Leadership On Cost, True Training Cost, Closed Model Margin Impacts (https://semianalysis.com/2025/01/31/deepseek-debates/) Dell RTO Timeline Aug 2020: Dell: 60% of our people won't be going back into an office regularly (https://www.theregister.com/2020/08/28/dell_q2_2021_work_from_home/) March 2024: ****Dell says remote workers must go hybrid if they want any hope of a promotion (https://fortune.com/2024/03/18/dell-remote-workers-promotion-hybrid-return-to-office/) Jan 2025: Dell ends hybrid work policy despite remote work pledg (https://www.theregister.com/2025/01/31/dell_ends_hybrid_work_policy/)e (https://www.theregister.com/2025/01/31/dell_ends_hybrid_work_policy/) 5 Signs Your Optimism Is Hurting Your Team (https://hbr.org/2025/01/5-signs-your-optimism-is-hurting-your-team) Relevant to your Interests Jack Dorsey's Block has an AI agent too (https://www.engadget.com/ai/jack-dorseys-block-has-an-ai-agent-too-212706083.html) Can We Build a Five Gigawatt Data Center?—Asterisk (https://asteriskmag.com/issues/09/can-we-build-a-five-gigawatt-data-center) Purely AI-generated art can't get copyright protection, says Copyright Office (https://www.theverge.com/news/602096/copyright-office-says-ai-prompting-doesnt-deserve-copyright-protection) 'Everything I Say Leaks,' Zuckerberg Says in Leaked Meeting Audio (https://www.404media.co/zuckerberg-says-everything-i-say-leaks-in-leaked-meeting-audio/) What Elon Musk should learn from Larry Ellison (https://archive.ph/2025.01.30-183451/https://www.economist.com/business/2025/01/30/what-elon-musk-should-learn-from-larry-ellison) DOGE, Software, and Government (https://open.substack.com/pub/arnoldkling/p/doge-software-and-government?r=2d4o&utm_medium=ios) DOJ sues to block HP Enterprise from buying Juniper Networks (https://www.axios.com/2025/01/30/justice-dept-hewlett-packard-enterprise-juniper-networks?utm_source=newsletter&utm_medium=email&utm_campaign=newsletter_axiosprorata&stream=top) Mark Zuckerberg to employees in leaked all-hands meeting: ‘buckle up' (https://www.theverge.com/command-line-newsletter/603754/mark-zuckerberg-tells-employees-to-buckle-up-in-leaked-all-hands-meeting?ueid=3d6a2c800561880c901963d51e644d95&utm_source=Sailthru&utm_medium=email&utm_campaign=1/31/25%20-%20Verge%20Subscription%20Marketing%20Send&utm_term=Verge%20Marketing%20Current) There's Something Very, Very Wrong With Tech Today. (https://slate.com/technology/2025/02/ed-zitron-interview-big-tech-ai-criticism.html) Microsoft Enforces Tougher Layoff Rules: No Severance, Immediate Termination (https://www.analyticsinsight.net/news/microsoft-enforces-tougher-layoff-rules-no-severance-immediate-termination) Apple reportedly gives up on its AR video glasses project (https://www.theverge.com/news/604378/apple-n107-ar-glasses-canceled) uBlock Origin is dead for Chrome, but ad blockers live on (https://www.pcworld.com/article/2595287/ublock-origin-is-dead-for-chrome-but-ad-blockers-live-on.html) Add F*cking to Your Google Searches to Neutralize AI Summaries (https://gizmodo.com/add-fcking-to-your-google-searches-to-neutralize-ai-summaries-2000557710) Palantir soars 24% to record high as AI powers strong earnings and guidance (https://www.cnbc.com/2025/02/04/palantir-soars-more-than-23percent-as-ai-powers-strong-earnings-and-guidance.html) 'Eternal' 5D memory crystal capable of storing 360 TB of data for billions of years now holds a full human genome (https://www.techradar.com/pro/eternal-5d-memory-crystal-capable-of-storing-360-tb-of-data-for-billions-of-years-now-holds-a-full-human-genome) AI Company Asks Job Applicants Not to Use AI in Job Applications (https://www.404media.co/anthropic-claude-job-application-ai-assistants/) OpenAI's nightmare: Deepseek R1 on a Raspberry Pi (https://www.youtube.com/watch?v=o1sN1lB76EA) Why Chinese AI has stunned the world (https://www.economist.com/briefing/2025/01/23/chinas-ai-industry-has-almost-caught-up-with-americas) Why the AI world is suddenly obsessed with a 160-year-old economics paradox (https://www.npr.org/sections/planet-money/2025/02/04/g-s1-46018/ai-deepseek-economics-jevons-paradox) OpenAI Furious DeepSeek Might Have Stolen All the Data OpenAI Stole From U (https://www.404media.co/openai-furious-deepseek-might-have-stolen-all-the-data-openai-stole-from-us/)e (https://www.theregister.com/2025/01/31/dell_ends_hybrid_work_policy/) Exposed DeepSeek Database Revealed Chat Prompts and Internal Data (https://www.wired.com/story/exposed-deepseek-database-revealed-chat-prompts-and-internal-data/) Gurman: Apple (https://9to5mac.com/2025/02/02/gurman-new-apple-icloud-service-confetti-invites-calendar/) is (https://9to5mac.com/2025/02/02/gurman-new-apple-icloud-service-confetti-invites-calendar/) launching new iCloud service as soon as this week, codenamed "Confetti" - 9to5Mac (https://9to5mac.com/2025/02/02/gurman-new-apple-icloud-service-confetti-invites-calendar/) Nonsense Funny note from JP Morgan Analyst about Tesla (https://www.threads.net/@benedictevans/post/DFndhwcuns9?xmt=AQGze1GhEGDyhgVKOFI0AvRmZmyXmlvD15_aHHWFTSthcw) Waffle House is passing along the sky (https://apnews.com/article/waffle-house-eggs-bird-flu-89025262684f051bdf8f7350dcf1613a)- (https://apnews.com/article/waffle-house-eggs-bird-flu-89025262684f051bdf8f7350dcf1613a)high cost of eggs to diners with a 50 (https://apnews.com/article/waffle-house-eggs-bird-flu-89025262684f051bdf8f7350dcf1613a)- (https://apnews.com/article/waffle-house-eggs-bird-flu-89025262684f051bdf8f7350dcf1613a)cent surcharge (https://apnews.com/article/waffle-house-eggs-bird-flu-89025262684f051bdf8f7350dcf1613a) Optimized Charging (https://optional.is/required/2025/01/28/optimized-charging/) Listener Feedback ChatGPT Explains the difference between ‘.bashrc` and .bash_profile (https://chatgpt.com/share/67a26e2f-be74-8006-b08e-e8691d7fd654) Optimized Charging (https://optional.is/required/2025/01/28/optimized-charging/) Conferences Civo Navigate North America (https://www.civo.com/navigate/north-america), San Francisco, Feb 10-11, 2025 DevOpsDayLA (https://www.socallinuxexpo.org/scale/22x/events/devopsday-la) at SCALE22x (https://www.socallinuxexpo.org/scale/22x), March 6-9, 2025, discount code DEVOP VMUG NL (https://vmugnl.nl), March 12th, Coté speaking. DevOpsDays Chicago (https://devopsdays.org/events/2025-chicago/welcome/), March 18th, 2025. SREday London (https://sreday.com/2025-london-q1/), March 27-28, Coté speaking (https://sreday.com/2025-london-q1/Michael_Cote_VMware__Pivotal_Platform_Engineering_for_Private_Cloud). 10% with code LDN10. Monki Gras (https://monkigras.com/), London, March 27-28, Coté speaking. Cloud Foundry Day US (https://events.linuxfoundation.org/cloud-foundry-day-north-america/), May 14th, Palo Alto, CA NDC Oslo (https://ndcoslo.com/), May 21-23, speaking. KubeCon EU (https://events.linuxfoundation.org/kubecon-cloudnativecon-europe/), April 1-4, London. SDT News & Community Join our Slack community (https://softwaredefinedtalk.slack.com/join/shared_invite/zt-1hn55iv5d-UTfN7mVX1D9D5ExRt3ZJYQ#/shared-invite/email) Email the show: questions@softwaredefinedtalk.com (mailto:questions@softwaredefinedtalk.com) Free stickers: Email your address to stickers@softwaredefinedtalk.com (mailto:stickers@softwaredefinedtalk.com) Follow us on social media: Twitter (https://twitter.com/softwaredeftalk), Threads (https://www.threads.net/@softwaredefinedtalk), Mastodon (https://hachyderm.io/@softwaredefinedtalk), LinkedIn (https://www.linkedin.com/company/software-defined-talk/), BlueSky (https://bsky.app/profile/softwaredefinedtalk.com) Watch us on: Twitch (https://www.twitch.tv/sdtpodcast), YouTube (https://www.youtube.com/channel/UCi3OJPV6h9tp-hbsGBLGsDQ/featured), Instagram (https://www.instagram.com/softwaredefinedtalk/), TikTok (https://www.tiktok.com/@softwaredefinedtalk) Book offer: Use code SDT for $20 off "Digital WTF" by Coté (https://leanpub.com/digitalwtf/c/sdt) Sponsor the show (https://www.softwaredefinedtalk.com/ads): ads@softwaredefinedtalk.com (mailto:ads@softwaredefinedtalk.com) Recommendations Brandon: Blackstone Griddle (https://blackstoneproducts.com/products/iron-forged-36in-griddle-w-hood) Matt: (https://www.flaminglips.com) The Flaming Lips Live (https://www.flaminglips.com) Coté: ChatGPT Canvas (https://openai.com/index/introducing-canvas/) Couches (https://www.facebook.com/reclaimitpdx/posts/2381969248637599/?_rdr) (direct link (https://www.artworkarchive.com/profile/mcmurry/artwork/couches-of-st-johns-zine?collection=souvenir)). 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On this episode of the Self-Publishing with ALLi podcast, Dan Holloway reports on Bookshop.org's new support for ebooks, giving indie authors more ways to reach readers while supporting local bookstores. He also covers the U.S. Copyright Office's latest report on AI and copyright, which outlines how current laws apply to AI-assisted works, and the Authors Guild's new Human Authored certification, designed to provide transparency about AI-generated content in books. Sponsors Self-Publishing News is proudly sponsored by Bookvault. Sell high-quality, print-on-demand books directly to readers worldwide and earn maximum royalties selling directly. Automate fulfillment and create stunning special editions with BookvaultBespoke. Visit Bookvault.app today for an instant quote. Self-Publishing News is also sponsored by book cover design company Miblart. They offer unlimited revisions, take no deposit to start work and you pay only when you love the final result. Get a book cover that will become your number-one marketing tool. Find more author advice, tips, and tools at our Self-publishing Author Advice Center, with a huge archive of nearly 2,000 blog posts and a handy search box to find key info on the topic you need. And, if you haven't already, we invite you to join our organization and become a self-publishing ally. About the Host Dan Holloway is a novelist, poet, and spoken word artist. He is the MC of the performance arts show The New Libertines, He competed at the National Poetry Slam final at the Royal Albert Hall. His latest collection, The Transparency of Sutures, is available on Kindle.

In celebration of the Super Bowl, host Peter Frelik sits down with one of the best creative studios in the TV commercial game: the House of Parliament (00:00).Lawrence Jones and Krystina Wilson, creative design at Parliament, share the secret sauce to why this group's work stands out in the competition (01:28).Then, they break down their production pipeline and dish on what works and what doesn't (21:55).Finally, Daniel Mallek from Vū Technologies joins Peter to make sense of all the industry news drops, including DeepSeek and the U.S. Copyright Office's decision on AI-generated content (38:52).You can learn more about Lawrence Jones and connect on LinkedIn at https://www.linkedin.com/in/lawrencejonesvfx/You can learn more about Krystina Wilson and connect on LinkedIn at https://www.linkedin.com/in/krystina-wilson-827542b/Learn more about The House of Parliament here: https://houseofparliament.com/Follow the Virtually Everything! Podcast on Instagram: https://www.instagram.com/virtually.live/?hl=enIf you want to send an email with feedback or show suggestions, you can reach us at virtually.everything@vustudio.com.Otherwise you can:Find Peter on LinkedIn https://www.linkedin.com/in/peterfrelik/The Virtually Everything! Podcast is presented by Vū Technologies. #VuStudio #ContentAtTheSpeedOfThoughtBye for now! Hosted on Acast. See acast.com/privacy for more information.

We're experimenting and would love to hear from you!In this episode of 'Discover Daily', host Sienna takes viewers on a deep dive into the evolving landscape of AI technology and its legal implications. At the forefront is Tesla's revolutionary announcement of their upcoming autonomous robotaxi service in Austin, Texas, scheduled for June 2025, which promises to reshape urban transportation through their advanced 'unsupervised' Full Self-Driving technology.The episode then explores a critical shift in how younger generations perceive technology companies, highlighting recent findings from Common Sense Media that reveal growing skepticism among American teenagers. This investigation into teen distrust covers crucial aspects of data privacy, ethical decision-making, and the responsible development of AI technology, offering valuable insights into the future of digital engagement.The show culminates with an in-depth analysis of the U.S. Copyright Office's latest guidelines on AI-assisted creative works. This segment demystifies the complex intersection of artificial intelligence and copyright law, examining how human creativity must interact with machine-generated content to qualify for legal protection, and what this means for creators in an AI-driven world.From Perplexity's Discover Feed: https://www.perplexity.ai/page/tesla-robotaxi-to-launch-in-ju-MZ4hg3QOQFmus7zo1ai3cQ https://www.perplexity.ai/page/teens-lose-trust-in-big-tech-uwQZ2uoSSMyp16iZmlJpTQ https://www.perplexity.ai/page/ai-assisted-work-can-be-copyri-z15EDTsYQkKblOroPtnhmg Perplexity is the fastest and most powerful way to search the web. Perplexity crawls the web and curates the most relevant and up-to-date sources (from academic papers to Reddit threads) to create the perfect response to any question or topic you're interested in. Take the world's knowledge with you anywhere. Available on iOS and Android Join our growing Discord community for the latest updates and exclusive content. Follow us on: Instagram Threads X (Twitter) YouTube Linkedin

The entertainment world doesn't stop moving just because of political upheaval. It marches on! On this week's podcast, host Neal Pollack talks with contributor Stephen Macaulay about the ever-changing world of AI and how it's affecting Hollywood productions. Topics covered include The Brutalist AI language-enhancement "controversy" and a new ruling from the U.S. Copyright Office that will influence how Hollywood uses AI going forward. Nuance is good when it comes to issues like this, and few entertainment business reporters are more nuanced than Macaulay. A great conversation, well worth your ears.Our other Stephen, one Stephen Garrett, went to the Sundance Film Festival this year, like he does every year. It's the second-to-last Sundance, and it was a cold Sundance to boot, so there's a kind of wistfulness to his report. Some of the Sundance content will be coming to TVs and movie theaters soon, and Stephen is on top of what you should see, or shouldn't see. But mostly, you should see everything. That's kind of the BFG mantra.Enjoy the podcast!

Brian and Jason kick things off with a look at why Gen Z grads are getting fired just months after landing jobs and a curiously viral declassified CIA sabotage guide. Speaking of sabotage, U.S. students are struggling with their lowest reading scores in decades, raising questions about the future workforce. Meanwhile, Google Maps' controversial renaming of the Gulf of Mexico to “Gulf of America” for U.S. users has sparked some amusing geopolitical tit-for-tats. In the AI wars, OpenAI is fuming over claims that DeepSeek trained its models using OpenAI's own stolen data—ironic, given OpenAI's history of scraping the internet. As if that weren't enough, California's Attorney General warns AI companies that nearly everything they're doing might be illegal, while the Copyright Office suggests AI copyright issues were settled way back in 1965. Oh, and OpenAI is now in the nuclear weapons game. What could possibly go wrong?In tech and business news, CVS is making customers jump through app hoops to unlock cabinets, Uber claims it's the victim of an elaborate fake crash scheme, and Tesla promises a robotaxi business and humanoid robots in 2025—though Musk admits current Teslas will need new hardware to achieve full self-driving. Whole Foods workers have formed their first union since Amazon took over, and MoviePass is considering a pivot to crypto, because of course it is. Meanwhile, Elon Musk's ventures keep making headlines, and Waymo's driverless taxis are facing vandalism in Southern California. Law enforcement in California is also in hot water, having misused state databases over 7,000 times last year.For media lovers, Star Trek: Section 31 is on the horizon, while The Expanse‘s first three seasons are vanishing from Amazon soon. Behind the Music is back, and Ladies & Gentlemen… 50 Years of SNL Music offers a deep dive into the show's musical legacy. On the gaming front, classic titles like Spaceship Warlock and The Hitchhiker's Guide to the Galaxy are getting attention alongside newly accessible archives of 1,500 classic gaming magazines. The Night Agent Season 2 is here and it sucks, and Amazon is hiking the price of its Music Unlimited subscriptions. Finally, the episode wraps with a nod to Marianne Faithfull's passing and China's new “magic beans” shaking up American markets—because, in this chaotic world, even the beans are making headlines because AI wrote this terrible summary.Sponsors:Factor - Get started at FactorMeals.com/grumpy50off and use code grumpy50off to get 50% off your first box plus free shipping. Private Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordDeleteMe - Head over to JoinDeleteMe.com/GOG and use the code "GOG" for 20% off.Show notes at https://gog.show/682FOLLOW UPBosses are firing Gen Z grads just months after hiring them—here's what they say needs to changeDeclassified CIA Guide to Sabotaging Fascism Is Suddenly ViralSimple Sabotage Field Manual by United States. Office of Strategic ServicesU.S. Students Post Lowest Reading Scores in DecadesIN THE NEWSGoogle Maps will rename Gulf of Mexico to Gulf of America, but only for US usersGoogle Maps Adopted ‘Gulf of America' Name, and Now Mexico Has Some SuggestionsDavid Sacks claims there's 'substantial evidence' that DeepSeek used OpenAI's models to train its ownOpenAI Furious DeepSeek Might Have Stolen All the Data OpenAI Stole From UsOpenAI suddenly thinks intellectual property theft is not cool, actually, amid DeepSeek's riseExposed DeepSeek Database Revealed Chat Prompts and Internal DataThe Knives Are Coming Out for DeepSeek AICalifornia's AG Tells AI Companies Practically Everything They're Doing Might Be IllegalCopyright Office suggests AI copyright debate was settled in 1965OpenAI will offer its tech to US national labs for nuclear weapons researchHow one YouTuber is trying to poison the AI bots stealing her content'Everything I Say Leaks,' Zuckerberg Says in Leaked Meeting AudioMoviePass might pivot to cryptoWhole Foods workers form first union since Amazon acquisitionCVS tries to juice app signups with cabinet unlocking featureUber Claims It's the Victim of an Elaborate Fake Car Crash SchemeTesla says it will begin robotaxi business and Optimus "pilot" production in 2025Elon Musk admits Teslas will need new hardware for FSDVandals in Southern California attack Waymo driverless taxiCalifornia Law Enforcement Misused State Databases More Than 7,000 Times in 2023MEDIA CANDYStar Trek: Section 31The Expanse‘s First 3 Seasons Are Leaving Amazon Very SoonAfter MidnightBehind the MusicLadies & Gentlemen... 50 Years of SNL MusicFRONT 242 - The Final Show Live at AB - Ancienne BelgiquePanic - The SmithsAmazon hikes prices for its Music Unlimited subscriptionsThe Night Agent Season 2APPS & DOODADSiOS 18.3 is here, with clearly labeled Apple Intelligence notification summariesStimulation ClickerPOTUS TrackerX's payments app will be available later this yearGoogle's 'Ask for Me' feature calls businesses on your behalf to inquire about services, pricingAT THE LIBRARYNot Till We Are Lost (Bobiverse Book 5) by Dennis E. TaylorThe Myth of Normal: Trauma, Illness, and Healing in a Toxic Culture by Gabor Maté & Daniel MatéTHE DARK SIDE WITH DAVEDave BittnerThe CyberWireHacking HumansCaveatControl LoopOnly Malware in the BuildingStar Wars: The Acolyte Was the Second Most Watched Show on Disney+ Last YearGravity FallsVGHF opens free online access to 1,500 classic game mags, 30K historic filesSpaceship WarlockBad Day on the MidwayThe Lost Dutchman's Gold (1979)ZyllBushidoThe Hitchhiker's Guide to the Galaxy (video game)Star Wars: TIE FighterBladerunner 2049 AuctionThere's a Horse In The Hospital | John Mulaney | Netflix Is A JokeBeppo - SNLCLOSING SHOUT-OUTSChina's new and cheaper magic beans shock America's unprepared magic bean salesmenMarianne Faithfull, English Singer, Dead at 78See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The U.S. Copyright Office says you should own the photos that you make using artificial intelligence tools. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The episode highlights the fallout of DeepSeek, an open-source large language model that has gained traction for its cost-effectiveness and performance. Microsoft has integrated DeepSeek's R1 model into its Azure AI foundry and GitHub, while businesses like ZoomInfo report substantial cost reductions by switching from OpenAI's models to R1. However, the rise of DeepSeek raises concerns about data privacy, bias, and security, particularly given its reported vulnerabilities and the influence of the Chinese government.Sobel also covers the U.S. Copyright Office's recent clarification regarding AI-generated content, stating that such content can receive copyright protection if a human significantly contributes to or modifies it. This announcement aims to address the legal gray areas surrounding AI and copyright, providing clearer guidelines for IT service providers and content creators. The episode emphasizes the importance of human creativity in copyright law while acknowledging that the subjective nature of "significant human involvement" could still lead to legal disputes.In addition to copyright issues, the episode discusses Super Ops' successful $25 million Series C funding round, which positions the company to enter the direct IT market with an AI-powered endpoint management tool. This move reflects a broader trend in the IT service market toward automation-first solutions, as companies like Super Ops and Syncro seek to enhance operational efficiency. Sobel advises IT leaders to remain cautious about efficiency claims and to evaluate real-world performance before adopting new technologies.Finally, the episode delves into the ethical implications of data usage in AI development, particularly in light of OpenAI's allegations against DeepSeek for potentially misusing its API. Sobel critiques the hypocrisy of OpenAI's outrage over data theft, given its own history of data collection practices. The discussion raises fundamental questions about the future of AI development, the legal frameworks governing it, and the potential for commoditized AI models to benefit both service providers and customers. As the landscape evolves, Sobel encourages listeners to stay informed and engaged with these critical issues. Four things to know today 00:00 Cheap AI Comes at a Price: DeepSeek's Rise Sparks Security and Bias Concerns04:31 AI Can Be Copyrighted—As Long As a Human Puts in the Work, Says U.S. Copyright Office07:32 SuperOps Lands $25M—And a Spot in the Direct IT Market With AI in Tow09:01 AI's Ultimate Irony: OpenAI Furious Over Data Theft… After Doing the Same?   Supported by:  https://www.huntress.com/mspradio/   All our Sponsors: https://businessof.tech/sponsors/ Do you want the show on your podcast app or the written versions of the stories? Subscribe to the Business of Tech: https://www.businessof.tech/subscribe/Looking for a link from the stories? The entire script of the show, with links to articles, are posted in each story on https://www.businessof.tech/ Support the show on Patreon: https://patreon.com/mspradio/ Want to be a guest on Business of Tech: Daily 10-Minute IT Services Insights? Send Dave Sobel a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/businessoftech Want our stuff? Cool Merch? Wear “Why Do We Care?” - Visit https://mspradio.myspreadshop.com Follow us on:LinkedIn: https://www.linkedin.com/company/28908079/YouTube: https://youtube.com/mspradio/Facebook: https://www.facebook.com/mspradionews/Instagram: https://www.instagram.com/mspradio/TikTok: https://www.tiktok.com/@businessoftechBluesky: https://bsky.app/profile/businessof.tech

The United States Patent and Copyright Office has denied the Utah Hockey Club's application to trademark the name Yeti. This leaves big question marks on what will the team's permanent name.Subscribe to The Jesse Blake Sports Report YouTube Channel: https://www.youtube.com/@JesseBlakeTV?sub_confirmation=1Follow Jesse on Twitter at @JesseBlakeFollow Jesse on Instagram @Jesse.BlakeVisit https://sdpn.ca for more.Join us on Discord: https://discord.com/invite/MtTmw9rrz7For general inquiries email: info@sdpn.caReach out to https://www.sdpn.ca/sales to connect with our sales team and discuss the opportunity to integrate your brand within our content!Join SDP VIP:YouTube: https://www.youtube.com/channel/UC0a0z05HiddEn7k6OGnDprg/joinApple Podcasts: https://apple.co/thestevedanglepodcastSpotify: https://podcasters.spotify.com/pod/show/sdpvip/subscribeRead lessAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy