Podcast appearances and mentions of Daniel Smith

Would Godzilla be structurally sound or too big for its own weight? Neil deGrasse Tyson, Matt Kirshen, and astrophysicist Charles Liu, takes a look at monsters that have terrified us, like zombies in The Last of Us or Godzilla, and the scary speculative science behind them.NOTE: StarTalk+ Patrons can listen to this entire episode commercial-free here: https://startalkmedia.com/show/the-science-of-godzilla-zombies-other-monsters-with-charles-liu/Thanks to our Patrons Brandon, Ikumi Nakajima, Vanessa Johnston, Thomas Weeks, Vicvegatw, M G, Vijay Kale, Anshuman Rai, Zach Kellogg, Marcus, Glenn Clark, christian mendez pagan, Felipe Rocha, John Olsson, Ralph Kewish, George Vailakis, Rick Stawicki, Stephen Bradley, Jeffrey Moore, matthew gilmer, Cheryl, Jeanne, Bishop PPB, Rob, Moose Polk, Daniel Rajski, Mila Gregory, Magnus, Paul Chatalbash, Koy Corwin, Max A, James Lott, Frosty, Stacy Hughes, Shay Collins, Darryl Barton, Graham Anderson, Akseli, James Bartram, Hacker Man, Dick Feynman, Theresa Hernandez, Shannon Pincombe, Arnab Mukherjee, James Rinker, (Not) Lord Kelvin, Daniel Smith, Rob Woods, Trevor Krumm, Joan Amelia Tarshis, Brendan Shrimplin, Joshua Sahner, Kalin Zlatinov, Jay2Serious, Marcus, Nathan Charland, ciana marie dolphin, Justin Jacob, Toilet machine, T P Hysmith, David Faulkner, Ernest Huntress, N.L. Peterson, Andrew McCall, Ondrej Pinter, Benjamin Froud, Jason Northrop, Sloopy55, Floris Kuik, Jan Leslie, Ameesa, Angi Brown, Mesa Kevin, Tars, Dk, thomas Appleby, StarlitFox117, Jessica Black, Jesse Lakeman, jbas2015, Ethan Stepp, Patricia J Clements, Emmanual Morales Rodriguez, Laura Michelle, Darwin Gregory, Michelle Man, Rebecca Wright, Helen Dahlberg, Franny R, Vassilis Bakosis, Lance Hoopes, Steven Savicki, Melissa Lange, and Riley Ruffin for supporting us this week. Subscribe to SiriusXM Podcasts+ to listen to new episodes of StarTalk Radio ad-free and a whole week early.Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Global issues that impact cardiovascular health include access to, and continuity of, care for migrant workers, as well as rising temperatures in both rural and urban environments. Nurse Practitioner and researcher Daniel Smith, PhD, AGPCNP-BC, CNE, FAAN, shares strategies to help improve cardiovascular disease prevention and management to help every patient everywhere have improved outcomes.Related resources:Global Cardiovascular Nursing Leadership Forum: gcnlf.netCE course: https://pcna.net/course/rural-and-environment-health-a-cross-roads/See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Episode 178 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:understand the expression: "all good things come to an end"learn why we are stopping this podcastand what you can do to keep going with your English and remain in contact with us.This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 177 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:Know four simple tricks to get your English “off the runway” in meetings.Have practical phrases to start speaking with confidence and buy yourself time.Learn how to stay calm and clear, even when your mind feels blocked.This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

On this special episode of the Growth Pioneers Doug joins host Mary Meyer of the Health Happy Wise and Wealthy podcast to discuss Reno Startup Week 2025.Mary Meyer brings together an inspiring panel of Reno's entrepreneurship leaders—including Doug Erwin, Candi Block, Monica Terrero, Daniel Smith, Melissa Saavedra, and Allison Greene—to give you an insider's look at Reno Startup Week. Whether you're an aspiring founder, a seasoned entrepreneur, or just startup-curious, this episode unpacks how a free, week-long event can help launch, grow, and nourish local small businesses and innovation, and why removing cost barriers for entrepreneurs is so vital. Get ready for takeaways on networking, pitch competitions, government support, community organizations, wellness initiatives, and much more, straight from the passionate volunteers and ecosystem builders making it happen. Topics Covered: -What is Reno Startup Week and who is it for? -The power of keeping entrepreneurial resources free -How government and nonprofits collaborate to support founders -Pitch competition: structure, prizes, and founder stories -Breakout sessions on funding, scale, tech, retail, and AI -Resource fairs for the Latino community and all small businesses -Health & wellness activities for founders (meditation, yoga, more) -Networking and making real connections in Reno's startup scene -Closing celebrations and the role of arts, music, and fun. Key Takeaways: -Reno Startup Week is intentionally free, maximizing accessibility for all—regardless of financial means or background. -Startup resources and networking should be open to the full spectrum of entrepreneurs, from tech innovators to brick-and-mortar business owners, across all demographics. -Government collaboration (via Nevada's Governor's Office of Economic Development) is critical for removing barriers, providing resources, and making real, systemic change for small businesses. -Pitch competitions and resource fairs empower founders to share ideas, gain exposure, and tap into vital networks. -Wellness and personal growth are just as important for entrepreneurial success as strategic know-how. -Networking is built into every layer of the week, from casual coffee to structured sessions and inclusive celebrations. -AI and current tech trends are not just for “techies”—established local businesses will find actionable tools and education. -Reno Startup Week is a living example of how community, public support, and open access create fertile ground for entrepreneurship.

The Gospel meets Zacchaeus (Luke 19:1-10) - Daniel Smith | August 17, 2025The Way Church is a church in Vancouver joining Jesus in the restoration of all things. For more information, visit our website at http://thewaychurch.caLINKSConnect Form: http://connect.thewaychurch.caKids: http://thewaychurch.ca/kidsYouth: http://thewaychurch.ca/youthAlpha: http://thewaychurch.ca/alpha

Welcome to Episode 176 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:Know all about William Blake and his famous line: "England's green and pleasant land"Understand why that sentence is NOT correct at the momentLearn 5 expressions with the word "land" in themAnd some amazing listener feedback as usualThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 175 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:understand why this class was inspired by a music festivalknow the key differences between HOPE and WISHunderstand why YOU might get confused between the two because of a Christmas expressionAnd some amazing listener feedback as usualThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 174 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:understand why my need for a hamburger inspired this episodeknow why so many of my clients say "Daniel, it's impossible to translate "ganas"get clear on the different options of translating "ganas" and a framework to remember the options correctlyAnd as usual some wonderful listener feedback!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Israel and Palestine to… trade agreements between the U.S. and Canada. U.S. Senators have visited Canada, and spoke with Mr. Carney about opening trade lines between Canada and the United States. There are always several social justice and social issues that the government should and have an effect on. Our government officials should be paying attention to them above anything else, especially over wealth. Daniel Smith and her ministers are talking about the Heritage Fund. They want to grow this fund to about $50 billion by 2050. The question becomes, should a government, provincial, or state or local or municipal government be allowed to retain surpluses in a savings account? Should it be allowed to apply gross and wealth strategies to it? To the point of billions of dollars being in that account. Having some surplus is a good idea. Government, at times, does find surpluses and should give that surplus back to the people, or apply it towards a social justice issue. When there are issues of homelessness, lack of education. We could run a gamut of social issues that could be fixed with that same exact money. How do we value a bank account over people?  Danielle Smith and her ministers also answered questions from the media about the Heritage Fund account.  Great Britain, Foreign Minister is talking about the war between Gaza and Israel. You have one of the most mechanised armies in the world. Israel is more mechanized at times. Then some of… some of the superpowers that exist. In our world, they have… more… a better-trained army, mechanized weapons more advanced than Russia or the United States at times. How does that compare to a group of undisciplined people walking around with rifles? Israel has UAVs flying overhead; they can target them from 10,000 feet and not miss the target. How does that become a war?  Issues are happening between Israel and Gaza that promote nothing but colonialism and the elimination of human rights. Human rights would mean that the civilians are being put into safe places. Where they can find food, water, and medical attention for the injured, women who are pregnant and the sick, it seems that these facilities, in accordance to how. Israel is encamping civilians can't get those things. It's extremely difficult for humanitarian efforts to get through, according to the United Nations. This a military used to abuse a bunch of people. Become a supporter of this podcast: https://www.spreaker.com/podcast/policy-and-rights--3339563/support.

Seth and Michelle sat down with director Scott Burkhardt and actor Jacob Daniel Smith to discuss their new short film We Buy Houses. It's about the inhabitants of a real life neighborhood dealing with gentrification and how it impacts all of those involved. The discussion ranges from getting clean audio in an abandoned building, being open to new creative opportunities as they happen and letting go of a project and letting it stand on it's own.  Check out Scott's work at his website This interview is part of a series we are doing to highlight the creative voices behind the films selected for the 30th Stony Brook Film Festival.  Use code MOVIEFRIENDS to save 25% off your pass at the  Stony Brook Film Festival Ad-free versions of all of our episodes are available on our Patreon When you sign up you also get access to our bonus shows, Discord server, decoder ring, shout out on the show AND you get to vote on monthly episodes and themes. That's a lot for only $5 a month! For more info and to sign up visit us on Patreon You can also give a Movie Friends subscription here: Gift a Movie Friends Subscription! Visit our website Send us an email! Follow us on Twitter and Instagram Fill out our listener survey

Welcome to Episode 173 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:learn that both Alastair and I are not fans of beach holidaysunderstand why I start thinking of English vocab when I'm forced to sit on a beachdiscover 7 new words that are useful and interestingAnd some great listener feedback as usual This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 172 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:understand the vital importance of indirect questionsthe little trick that will help you know when an indirect question is wronghow to build an indirect question properly and what to do with the auxiliary verb And, as a bonus, why the word "they" can sometimes be used to talk about an individual.This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 171 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:learn all about data and the three ways to say itunderstand the key mistake that most Spanish speakers make when they talk about percentageslearn how talk about trends and comparisons professionallyAnd what words you need when you are talking about graphsThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 170 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:have 7 little tricks that will make you sound more professional and politeunderstand why the British are overly obsessed with "please", "thank you" and "sorry" And become aware of how these polite constructions have been problematic for Alastair and me when learning Spanish!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Tony chats with Daniel Smith, Co-Founder and CMO at Market Retrievers, they are a digital marketing firm primarily focused on helping insurance organizations better tell their stories online and fetch their targets. First they help you map out a strategy and then execute on that strategy.Daniel Smith: https://www.linkedin.com/in/daniel-smith-retrievers/Market Retrievers: https://www.marketretrievers.com/Video Version: https://youtu.be/aGZ7P5r3fQA

Welcome to Episode 169 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:how I made an embarrassing mistake in Englishwhy the passive-aggressive is an essential part of your business English toolkit7 example sentences of what passive-aggressive isAnd why tone and body language are fundamental in knowing whether someone is being passive-aggressive. This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 168 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:Five strange new words that you probably think I just invented but are, in fact, real words that native speakers use.Why these words seem anything other than professional but that they can sometimes be used in business contexts tooAnd some feedback from the YOU the listeners as usual!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 167 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:Why short simple phrases can seem abrupt and rude5 specific examples of this, which you yourself might be usingHow to correct them and the words needed to do soAnd why doing so can help you seem much more professional and collaborative.This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 166 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:the key difference between an accent and pronunciationthe reasons why you shouldn't focus your efforts on accent reductionwhy an accent can actually be part of your personal brandingand a little story about 3 brothers who went to IrelandThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 165 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:some key expressions about time and organisation of events and meetingswhy the expression "move forward" is confusing for both non-native and native speakerswhy the word "advance" is similarly confusingand some amazing anecdotes from YOU the listeners!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Daniel is a custom painter out of Florida. His shop, Smithworkx, has put out a ton of show stopping paint jobs. He has some fun stories and we go over them in this episode.

Welcome to Episode 164 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:Why some words will make you feel intimidated even if you have studied a lotWhy 2 specific British TV series are very popular with language learnersHow to use 6 words that native speakers use that can be useful for both your active and passive vocabularyAnd some amazing feedback from YOU the listeners as usualThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 163 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:how simple knowledge gaps can cause big problemsa little trick about how to remember the translation of "@"a few other essential punctuation issues that are vital when spelling your email addressand some great listener feedback as usual.This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 162 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:why laughing at your mistakes is essential and shows confidencewhy in English we tell jokes and get jokesthe difference between laughing with someone or at someoneand some amazing little stories about some funny mistakesThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 161 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn: Why I'm so motivated to turn up again and again to help you with your English. An experience that taught me how painful it can be, not to have the right words in a professional context.And some stories from you, the listeners, about how you have suffered as well.This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 160 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:exactly what the word "smart" meansfive professional verbs that are essential for businesseverything you need to know about Mr Smart and Mr TickleAnd some great listener feedback!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 159 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:why I get worried when I see an email starting with "Dear Sir"why "Dear" can seem too formal especially with native speakers4 alternatives to "Dear" that can remove barriersAnd what to write when you a emailing a group and not just one individualThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 158 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:Why "GET" is so tricky for Spanish speakersWhy memorising all the meanings of GET is not the right approachThe 4 core meanings of GET and a few key phrasal verbsAnd the secret to learning get that most people missThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 157 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:a hard truth that is essential for your progresswhy ideas are more powerful than wordsthe rhythm of English and how it is different to Spanishand a little about chunking and why it's so powerful!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 156 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:why your brain suddenly freezes when you want to speak Englishwhat survival mode is all abouthow fear impacts your performance in EnglishAnd 4 strategies to deal with the fear and feel more comfortableThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 155 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:the main mistake Spanish speakers make with ASAPwhy PTO has two meanings rather than just oneall about CEOs and the C-suiteAnd the main pronunciation mistake with KPIThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

The Sin of Partiality (James 2:1-13) - Daniel Smith | March 9, 2025The book of James describes an integrated faith & life—a life made whole in its holiness. James was the pastor of the first Christian church in Jerusalem, writing to Jewish believers living outside the nation of Israel. The words of James are God's word for us—relevant and immediately applicable to our lives. As we journey through the book of James, immersing ourselves in the symbolic world + pressing concerns of the first century followers of Jesus, we learn to apply James' message to our lives in the 21st century.The Way Church is a church in Vancouver joining Jesus in the restoration of all things. For more information, visit our website at http://thewaychurch.caLINKSConnect Form: http://connect.thewaychurch.caKids: http://thewaychurch.ca/kidsYouth: http://thewaychurch.ca/youthAlpha: http://thewaychurch.ca/alpha

Welcome to Episode 154 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:The complexities of "to" and when and where you need to use itThe grammar structure that is required with "must"Why the verb "discuss" cannot be connected with "about"Why decisions are MADE not TAKENAnd the "actually" classic!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

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

Welcome to Episode 153 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:why you can't translate word for word with prepositionsa smart little trick to help you remember how to use prepositions connected to timethe big difference between during, since and forAnd how movement can change everything with prepositionsThis podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

The Indian National Space Promotion and Authorisation Centre (IN-SPACe) has launched a $57.58 million fund to support early-stage space technologies and reduce reliance on imports. The US Department of the Air Force has agreed to revoke a Space Development Agency (SDA) award to Tyvak Nano-Satellite Systems, and reopen bidding. SAIC and AWS have been awarded contracts by NOAA to provide cloud hosting services for the Traffic Coordination System for Space (TraCSS), and more. Remember to leave us a 5-star rating and review in your favorite podcast app. Be sure to follow T-Minus on LinkedIn and Instagram. T-Minus Guest Our guest today is Scotland's Trade Envoy to Space, Daniel Smith. You can connect with Daniel on LinkedIn, and on the Scottish Government website. Selected Reading India's space regulator launches $58 million fund to boost startups, cut reliance on imports- Reuters In response to Viasat suit, SDA will recompete 10-satellite award to Tyvak - Breaking Defense NOAA Awards $4.8M TraCSS Cloud Services Order SuperSharp and NanoAvionics to partner on a disruptive Thermal InfraRed (TIR) imaging satellite NASA Associate Administrator Jim Free to Retire After 30 Years Service SpaceX Starlink mission lands rocket off coast of The Bahamas for 1st time  60 Years Ago: John Glenn, the First American to Orbit the Earth aboard Friendship 7 - NASA T-Minus Crew Survey We want to hear from you! Please complete our 4 question survey. It'll help us get better and deliver you the most mission-critical space intel every day. 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 space@n2k.com to request more info. Want to join us for an interview? Please send your pitch to space-editor@n2k.com and include your name, affiliation, and topic proposal. T-Minus 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

Welcome to Episode 152 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:why learners so often get stuck at a B2 levelwhat exactly a plateau is and why it is problematic for language learners3 key strategies that will help you push forward and get closer to a C1 levelwhat exactly "shadowing" is and how to apply itand some amazing listener feedback!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 151 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will learn:exactly how adjectives are ordered in Englishwhy this rule is fascinating even for native speakershow to apply the rule in real life situationsAnd some practical examples from our own holiday experiences!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 150 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will know:exactly why English is full of French wordswhy English has no official governmental body protecting itthe most useful letter to have when you play scrabble in Englishand why over 1000 words are added to the English dictionary every year!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 149 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will know:exactly why native speakers are hard to understandwhy some natives will be harder to understand than others3 things that native speakers do that make it more tricky to understand themthe exact meaning of mash, shrink and skipand some amazing listener feedback from all of YOU!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 148 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will know:all about the 21-day February Challenge we are about to launchwhy it will help you with all those annoying business phrasal verbs you struggle withwhat will be included and how it will be organisedand a bit of feedback from YOU the listeners!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Australiano di nascita e italiano di adozione, Daniel Smith è nella sua nativa Sydney per dirigere il Barbiere di Siviglia di Gioachino Rossini all'Opera House.

Welcome to Episode 147 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will know:how to apply the golden rule to your regular verbs in Englishdiscover why "d" and "t" sounds are so difficult for Spanish speakersand how to put the golden rule into practice and make sure you actually pronounce the past verbs correctly! This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 146 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will understand:why Alastair and I still struggle with pipaswhat the actual translation for "pipas" ishow Alastair is better at eating grapes than his Spanish familywhat our New Years' resolutions are!the exciting plan we have for your professional English this yearAnd an added bonus about how to get your kids speaking English as well as possible. This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 145 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it:you will know why you can almost forget the expression "it's raining cats and dogs"you will discover 3 alternatives that native speakers do actually useyou will get 5 expressions that really are useful and applicable in a business contextAnd, as usual, some wonderful feedback from you!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 144 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it:you will know 12 unusual but exciting new English wordsyou will understand which of them Alastair and I actively useyou will be able to connect them to Spanish words you already knowAnd you will be able to start to push them into your passive and active English vocabulary!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 143 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:know exactly why calls are so tricky in Englishlearn about how Alastair and I have gone through the same difficulties in Spanishget 5 little tools that will help you push forward with your callsand a few little bonus words that can cause confusion This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Welcome to Episode 142 of the TRANSFORMA TU INGLÉS PROFESIONAL podcast!I'm your host Daniel Smith.Today we have an amazing show lined up for you and by the end of it you will:understand 3 key reasons why the phrase "sorry for my English" can be damaging to you and your listenersget 4 much better alternatives that will improve your approach and mindsetbecome clear that "sorry" itself is often overused by native speakersAnd some amazing listener feedback all about this topic!This podcast helps you push your business English communication skills to the next level so that you can grow professionally and achieve your international career goals!

Teacher: Daniel Smith. Welcome! We're so glad you're here! This Sunday, Daniel Smith will guide us through 1 Peter 3:8-22, showing us how Peter encourages us as believers that we thrive in suffering by walking in unity and righteousness, keeping the finish line in mind, following Christ as our ultimate example, and resting in His victory rather than relying on our own control. In this series, we're focusing on the main theme of 1 Peter: as God's chosen people, believers are called to endure suffering with hope, following in the footsteps of Christ, trusting that their trials serve to sanctify them and prepare them for the glory to come. Join us as we walk through 1 Peter verse by verse over the next eight weeks! Enjoyed the message? Rate us ⭐⭐⭐⭐️⭐ and leave a review on Apple Podcasts. Want more information about CityBridge Community Church? DM us @citybridgecc or email us at info@citybridgechurch.org. You can grab the Sermon Notes from this message here: https://www.citybridgechurch.org/messages Subscribe for free. Be the first to hear next week's message by subscribing to your favorite podcast app.