Podcast appearances and mentions of Ed Morrish

Sound Heap Inc. CEO and Fun Captain John-Luke Roberts presents another selection of clips from the best, most talked-about, and most profitable podcasts on the Sound Heap Inc. podcast network this week. You'll hear clips from podcasts such as:The Pro-Gluten HourInterviews With Video Game Sidekicks - this week, it's Tails from Sonic The HedgehogLet's Describe TrianglesRename That CloudWho's Your Favourite?, where we ask parents who their favourite child is, in front of their childrenInventorviews (interviews with inventors)Plus, as a treat, there's an extended listen to the most cutting edge of all possible podcasts: Parallello, What's Your Name?, the podcast that interviews people from parallel worlds.Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Alice Fraser, Sooz Kempner, Eleanor Morrish, Ada Player, Luke Rollason, Alison Spittle, Bron Waugh, and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions. Sound Heap is a proud member of the Maximum Fun network.

Sound Heap CEO and Fun Captain John-Luke Roberts plays you clips from the best podcasts on the Sound Heap Inc. podcast network this week, including the dining review podcast with a difference, We Eat The Plates, where - you guessed it - they eat the plates. You'll also hear clips from:If There Was Another Member Of The Village People, What Should He Wear?Ethiccal, the ethical debate podcast spelled with 2 c's so it looks like it's got the slang word ‘thicc' in itDream CrushersGreat Thank You Letters Of The 20th CenturyDavid Hockney Has Found The Voicenote App on His iPhoneThe Pro Sausage Hour...and more!Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Alice Fraser, Kieran Hodgson, Sooz Kempner, Joz Norris, Ada Player, Luke Rollason, Alison Spittle and Bron Waugh. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions. Sound Heap is a proud member of the Maximum Fun network.

This week X: The Everything App - The Official Podcast returns, per the cease and desist letters we've been receiving, to being known as NonCensored, and regular service is resumed: Harriet Langley-Swindon and Producer Martin speak to Bridget Phillipson, the Women & Equalities Minister, about the government's reaction to last week's Supreme Court ruling over the definition of "woman", as well as Home Secretary Yvette Cooper about her forthcoming Foreign Criminal League Tables. Harriet also sat down with Pierre Poilievre, the Conservative candidate for Canadian Prime Minister, about how well his campaign to be "Canada's Trump" is going.It would help us enormously if you were to fill out this survey: http://bit.ly/noncensored-surveyPeople who subscribe to our Patreon will also get a bonus segment where we interview leading manosphere YouTuber MrFeast about free speech and talking to women. Patreons also get the episodes early and without adverts, and every segment in full video so pop over to Patreon.com/NonCensored and sign up if that sounds like your sort of thing.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Alexandra Haddow, Davina Bentley, Sooz Kempner, Michael Balazo and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is going on tour with Kiell Smith-Bynoe and friends as part of Kool Story Bro.Alexandra posts sketches and bits of her standup on her Instagram, as well as details of her excellent club night Indie Amnesty.Davina does sketches on her Instagram, and does a very funny podcast with Freya Mallard called Binks and Hebrides Whine Time.Sooz is currently previewing her Edinburgh show, Sooz Kempner Is Ugly. Tickets and all the information you need are on Sooz's website.Michael has a podcast called Evil Men, and will be at the Edinburgh Fringe with his show International Lover.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production Hosted on Acast. See acast.com/privacy for more information.

This week X: The Everything App - The Official Podcast founder and CEO Elon Musk welcomes Harriet Langley-Swindon and Producer Martin onto his podcast which he bought last week. Formerly known as NonCensored, Elon has embraced the podcast's crusade for free speech and free thinking by taking over and deciding what to cover. So, he speaks to comedian Rosie Holt about making comedy legal again, and he instructed Harriet and Martin to speak to SpaceX's Head Of Ladies' Space, Sylvia Carcass, and SpaceX's Head Of Normal Space, Buzz Darkmonth, about the current state of space exploration, as well as American journalist Liz Breunig about why the left should embrace pronatalism.Thank you to Louise Morgan for joining our Patreon this week. She got this episode early and without ads, as well full videos of every segment, bonus podcasts and exclusive video content. With thanks to Lewis Macleod, Rosie Holt, Brendan Murphy, Eshaan Akbar, Will Sebag-Montefiore, Davina Bentley, Sooz Kempner and Ed Morrish.Lewis can be heard on Dead Ringers, and seen on Instagram.Rosie's book, Why We Were Right, is available now.Brendan's show, Buffy Revamped, is on tour; you can see dates and buy tickets here.Eshaan's stand-up special, The Pretender, is on YouTubeYou can listen to Will's podcast, Legitimate Likes, here, and he does sketches on Instagram.Davina does sketches on Instagram, and does a very funny podcast with Freya Mallard called Binks and Hebrides Whine Time.Sooz is currently previewing her Edinburgh show, Sooz Kempner Is Ugly. Tickets and all the information you need are on Sooz's website.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production Hosted on Acast. See acast.com/privacy for more information.

Sound Heap CEO and Fun Captain John-Luke Roberts presents another collection of clips from all the best bits and tip-top podcast hits on the Sound Heap Inc. podcast network. You'll hear from:In the Anaesthetists Chair, featuring special guest Andrew ScottMoney Money Money Money Money Money MoneyPodcast: The Podcast PodcastHabitual: The Routines Of Nuns...and more, including an extended listen to Polysplorers, the podcast where hosts Mercy Andrews and Peter Stiffy share their polyamorous journey.Sound Heap was created and hosted by John-Luke Roberts, and featured Alice Fraser, Kieran Hodgson, Sooz Kempner, Ada Player, Bron Waugh, Shea Wojtus and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions. Sound Heap is a proud member of the Maximum Fun network.

This week Harriet and Producer Martin welcome General Dick Terrific, of the 3rd Us Airborne Tariff Divison, back to the show for an update from the front line of the trade war; Telegraph columnist Siobhan Connery explains why Marine Le Pen SHOULD be allowed to run for President in 2027; and Eshaan Akbar has a Hot & Spicy take about how we can re-fund the police.Thank you to Anthony Robinson for upgrading to a paid membership of our Patreon this week. He got this episode early and without ads, as well full videos of every segment, bonus podcasts and exclusive video content, and also as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Will Sebag-Montefiore, Bethany Black, Sooz Kempner and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, to the Melbourne International Comedy Festival and you can see dates and buy tickets here.Eshaan is currently on tour with his show Can't Get No Satisfakshaan, which is at the Hackney Empire on April 12th.Will has a podcast called Legitimate Likes that you can listen to here, and he does sketches on Instagram.Bethany is a brilliant stand up and you can buy her show Unwinnable for £5 from Go Faster Stripe.Sooz is currently previewing her Edinburgh show, Sooz Kempner Is Ugly. Tickets and all the information you need are on Sooz's website.Ed also produces Sound Heap With John-Luke Roberts, an improvised sketch show that just returned for a fourth series.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

Sound Heap Inc. CEO & Fun Captain John-Luke Roberts presents clips from all the best podcasts on the Sound Heap Inc. podcast network, which this week include:Mennnnnnnnnnnnnnnnn.,  the masculine podcast which is now spelt with seventeen ns.Look Who's Tiktokking NowA Cowboy To Comfort The GrievingOff With Their Heads, the show where celebrity guests plan their dream executionQuikflmrevws...and extended listens to We Want To Meet The Moon, in which two people flatter the moon in the hope that it will come on the show as a guest.Sound Heap was created and hosted by John-Luke Roberts, and featured Margaret Cabourn-Smith, Derek Mitchell, Shea Wojtus, and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions. Sound Heap is a proud member of the Maximum Fun network. MaxFunDrive ends on March 28, 2025! Support our show now and get access to bonus content by becoming a member at maximumfun.org/join.

This week Harriet and Producer Martin talk to the Chancellor, Rachel Reeves, about why her spring statement got such bad reviews; US Defence Secretary Pete Hegseth joins us to talk about why he definitely didn't leak classified information and also America's Canadian invasion plans; and Eshaan Akbar has a Hot & Spicy take about Prince Harry stepping down from a charity when he should be going jousting.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up. This week, there's a Time For Questions Q&A episode, and an exclusive segment with royal correspondent Nicola Witchell.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Davina Bentley, Sam Russell and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan, which is at the Hackney Empire on April 12th.Davina does sketches on her Instagram, and does a very funny podcast with Freya Mallard called Binks and Hebrides Whine Time.Sam is part of Shoot From The Hip impro. You can find details of their latest live dates and videos of previous shows on their website.Ed also produces Sound Heap With John-Luke Roberts, an improvised sketch show that just returned for a fourth series.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

This week Harriet and Producer Martin talk to the Health Secretary, Wes Streeting, about mental health and why it's being over-diagnosed; Eshaan Akbar shares a Hot & Spicy Take about why the Finns are the happiest people on earth; and we hear from a phone-in caller about why you should but Teslas, specifically from him.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up. On Tuesday 25th we will be recording a Time For Questions show, so if you want to ask a question pop over to Patreon and comment on the latest post.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, James Barr, Will Sebag-Montefiore and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.James co-hosts the A Gay & A Non-Gay podcast, and is going on tour, and you should go and see him. Tickets available from jamesbarrcomedy.com.Will has a podcast called Legitimate Likes that you can listen to here, and he does sketches on Instagram.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars, which is all on BBC Sounds now, and Sound Heap With John-Luke Roberts, an improvised sketch show that just returned for a fourth series.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

Sound Heap host John-Luke Roberts breaks character to talk to producer Ed Morrish and multi-award-winning comedy writer Joel Morris (Cunk On Earth, Be Funny Or Die, Broken Veil), going behind the sounds of his show. They explain how the show started, how they make it (and why), and how it's changed over its four series (so far).For fans of Sound Heap in particular and comedy in general, this is a fascinating look at the mechanics of making the “podcast of too many podcasts”.Thanks to Joel Morris for taking part. MaxFunDrive ends on March 28, 2025! Support our show now and get access to bonus content by becoming a member at maximumfun.org/join.

Sound Heap Inc. CEO & Fun Captain John-Luke Roberts presents clips from all the best podcasts on the Sound Heap Inc. podcast network, which this week include:The Terrible Old Crone's Terrible Old PodcastThinkles, the philosophy podcastFights, DescribedLet Me Love A Love Like That, with Leigh DelamereSpritz, the quick quick perfume review podcastRememberama...and an extended listen to The Apocalypse, By Bernard Tits, in which Bernard Tits imagines different ways the world might end.Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Saima Ferdows, Derek Mitchell, Sarah Morgan, Joz Norris and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions. Sound Heap is a proud member of the Maximum Fun network. MaxFunDrive ends on March 28, 2025! Support our show now and get access to bonus content by becoming a member at maximumfun.org/join.

This week Harriet and Producer Martin talk to the Chancellor, Rachel Reeves, about the tough choices the government are making on benefits, and why Labour aren't interested in helping people who don't work; we also have General Dick Terrific, for the US Third Airborne Tariff Division, to explain how the Trade War is going, compared to his previous campaigns in the Culture War and The War On Christmas; and of course, Eshaan Akbar has a Hot & Spicy Takeaway of the Week, this week about Disney's reboot of Snow White.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Davina Bentley, Will Sebag-Montefiore and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.Davina does sketches on her Instagram, and does a very funny podcast with Freya Mallard called Binks and Hebrides Whine Time.Will has a podcast called Legitimate Likes that you can listen to here, and he does sketches on Instagram.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars, which is all on BBC Sounds now, and Sound Heap With John-Luke Roberts, an improvised sketch show that just returned for a fourth series.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

This week Harriet and Producer Martin talk to Sir Keir Starmer, about his week of European/American diplomacy, and why cutting foreign aid to boost defence spending makes things easier; Democratic Congresswoman Gretchen Hardline talks us through her VERY effective protest against President Trump's State of the Union speech; and after Rishi Sunak expressed regret about "Stop the Boats", Eshaan Akbar has a Hot & Spicy Take about political slogans.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Joz Norris, Davina Bentley and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.Joz is previewing his Edinburgh show, You Wait. Time Passes, in Glasgow, Bristol and Edinburgh. Get your tickets here.Davina does sketches on her Instagram, and does a very funny podcast with Freya Mallard called Binks and Hebrides Whine Time.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars, which is all on BBC Sounds now, and Sound Heap With John-Luke Roberts, an improvised sketch show that just returned for a fourth series.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

Sound Heap is back, again! As ever, CEO and Fun Captain John-Luke Roberts presents highlights from all the best podcasts across the Sound Heap Inc. podcast network. This week's featured podcast is Mennnnnnnn., a podcast for men, about men, with eight Ns and a full stop. You'll also hear clips fromSomething You Can Do With An EggOff With Their Heads, where guests plan out their dream executionQuick Reviews Of Spooky BooksThings Described To An Idiot (this week: football!)Then, Then, Then, Then, Then, Then, Then, and NowRememberama...and more!Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Athena Kugblenu, Derek Mitchell, Eleanor Morton, Joz Norris and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

This week Harriet and Producer Martin talk to Will Lewis, the publisher of the Washington Post, about WaPo's new editorial direction; we speak to friend of the show Sir Douglas Brown CBE, chairman of Southern Central Thames Oil, about why his company, like other oil producers, have ditched their green commitments; and after President Trump announced a $5m (£3.9m) "golden passport", Eshaan Akbar has a Hot & Spicy Take about rich foreigners.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Will Sebag-Montefiore, Oliver Izod and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.Will has a podcast called Legitimate Likes that you can listen to here, and he does sketches on Instagram.Oliver can be found busking in Covent Garden.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars, which is on Radio 4 at 6.30pm on Thursdays for six weeks from the 30th January, and Sound Heap With John-Luke Roberts, an improvised sketch show that returns for a fourth series on Monday 3rd March.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

This week Harriet and Producer Martin introduce their new feature, Column Of The Week, where they speak to an eminent British newspaper columnist about their brilliant, brilliant work. This week, it's the Telegraph's Allison Pearson, who talks us through her article, "JD Vance's courageous lecture on migration has shamed our gutless elites”. We also welcome DOGE's Ethan Chablowski back to the show, to explain how his takeover of the Federal Aviation Authority is going, and Eshaan Akbar asks a question for his Hot & Spicy Takeaway of the Week that turns out to be [REDACTED].If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Sooz Kempner, Lucas Jefcoate and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.Sooz is currently previewing her Edinburgh show, Sooz Kempner Is Ugly, in Brighton on the 25th April and at MachFest, in Machynlleth, on the 3rd May. Tickets and all the information you need are on Sooz's website.Lucas has live dates coming up in Glasgow, Manchester and Brighton - you can get tickets via his website.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars. It's on Radio 4 at 6.30pm on Thursdays for six weeks from the 30th January, and you can listen afterwards on BBC Sounds.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

This week Harriet and Producer Martin speak to suspended Labour MPs Grandrew Wynne Evans and Hugh Massingham-Twunt, who would like to apologise to all the idiots they offended with their WhatsApp posts. They also hear from Ian Business about why we need to be back in the office four days a week, and Eshaan Akbar has a VERY Hot & Spicy Takeaway of the Week about why the British economy is a grower, not a shower.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Larry & Paul, AJ and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.Larry & Paul do their brilliant Broken News sketches on their YouTube channel, so pop over there, laugh and subscribe.AJ is part of Shoot From The Hip impro. You can find details of their latest live dates and videos of previous shows on their website.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars. It's on Radio 4 at 6.30pm on Thursdays for six weeks from the 30th January, and you can listen afterwards on BBC Sounds.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production. Hosted on Acast. See acast.com/privacy for more information.

For this week's show, Harriet and Producer Martin speak to Ethan Chablowski, one of Elon Musk's small team of bright young men who are making the American government more efficient, about why privacy is cringe and free speech is lit. They also hear from Richard Burgon MP about his reinstatement to the Labour benches now that he acknowledges that he was wrong to do the right thing and what sort of animal Keir Starmer would be, and Eshaan Akbar 'phones it in' with a Hot & Spicy Takeaway of the Week about schools banning mobiles.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up - thanks to Adam Homato for signing up this week.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Lucas Jefcoate, Dan Clarkson and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is currently on tour with his show Can't Get No Satisfakshaan.Lucas has live dates coming up in Leicester, Glasgow and Brighton - you can get tickets via his website.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars. It's on Radio 4 at 6.30pm on Thursdays for six weeks from the 30th January, and you can listen afterwards on BBC Sounds.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo productionLearn more about your ad choices. Visit megaphone.fm/adchoices Hosted on Acast. See acast.com/privacy for more information.

For this week's show, Harriet and Producer Martin speak to The Daily Mail's Horatio Bamm about Labour's plans to build, build, build. They also catch up with AI Producer Martin, who was had quite a week since he was created to co-host last week's show, including having his job stolen by a cheaper, Chinese AI. And Eshaan Akbar has had a look at the ONS's projection for the population and Britain, and come up with a Hot & Spicy Takeaway Of The Week about immigration.If you enjoy the show and fancy early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, as well as the nice warm feeling you get from supporting the arts, pop over to Patreon.com/NonCensored and sign up.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Jake Bhardwaj, Will Sebag-Montefiore and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Can't Get No Satisfakshaan.Will has a podcast called Legitimate Likes that you can listen to here.Jake co-hosts The Pub Quiz Pod with Liam Shaw, from the internet sketch act The Squid - listen here.Ed also produces P.O.V., a sketch show that features a lot of NonCensored regulars. It's on Radio 4 at 6.30pm on Thursdays for six weeks from the 30th January, and you can listen afterwards on BBC Sounds.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices Hosted on Acast. See acast.com/privacy for more information.

For this week's show, Harriet is joined by An Ai Producer Martin as her co-host, but we don't think you'll be able to tell the difference! Together, they speak to the new and former President of America, Donald J. Trump, about his plans to go to Mars and why we need more magenta. They also speak to Britain's Man In The Magaverse Nigel Farage MP, about how he could probably get into the inaugural party if he wanted to and why we need to drill for oil in the UK. We also hear a Hot & Spicy Takeaway from Eshaan Akbar about Prince Harry's foiled attempt to make free speech illegal. Thanks to Lorna for signing up to our Patreon this week. She'll be getting early, ad-free episodes, full videos of every segment, bonus podcasts and exclusive video content, and a nice warm feeling inside from supporting the show. Pop over to Patreon.com/NonCensored if you want any and/or all of those things.With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Lewis Macleod and Ed Morrish.Rosie's book, Why We Were Right, is available now.Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here.Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Can't Get No Satisfakshaan.Lewis does video messages to order, so if you'd like to hear from Trump, Farage, or any of the other people that Lewis does, go to his website.Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing.Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass.NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices Hosted on Acast. See acast.com/privacy for more information.

Time For Questions is the NonCensored spin-off show where Harriet Langley Swindon, Producer Martin and Eshaan Akbar answer YOUR questions. Since the start of 2024 this has been exclusively for Patreons, who get one per month, but we're releasing the one we made in December 2024 from the paywall to the main feed so you can hear what you'd be getting. This episode saw them answer questions likeIf the NonCensored team were to appear on a political debate show, who would you also want on the panel and what hot topics would you like to debate?Does the team wish each other Merry Christmas or Happy Holidays?Fielding. Gallagher. Edmonds. The First. Which is the best Noel?We're recording January's TFQ next week, so f you'd like to ask a question, go to Patreon.com/NonCensored and sign up. Thanks to all our Patreons for making this show possible, and also thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar and Ed Morrish.NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/adchoices Hosted on Acast. See acast.com/privacy for more information.

For the final show of 2024, Sound Heap CEO and Fun Captain John-Luke Roberts presents a seasonal special of highlights from across the Sound Heap Inc. podcast network. You'll hear clips from episodes of:Elty Jomb's Lobbly SondsBeautisome Home with Merilyn MorgarnA Poem For You, featuring medieval poet Geoffrey ChaucerUnsettling Opinions But You Can't Quite Put Your Finger On WhyThe Year In Potatoes...and many more!Sound Heap will return for a new season in 2025, and until then, thanks to our sponsor Elty Jomb for his continued support, and NO THANKS. AT ALL to French President Emmanuel Macron. He knows why.Sound Heap was created and hosted by John-Luke Roberts, and featured Margaret Cabourn-Smith, Mary Flanigan, Paul Foxcroft, Athena Kugblenu, Derek Mitchell, Joel Morris, Eleanor Morton, Joz Norris, Ada Player and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

Harriet and Producer Martin are joined by Tressie Law, co-host of the Truthful Crime podcast, who explains why true crime podcasters can't get enough of Luigi Mangione, the alleged CEO killer. They also speak to Lee Anderson, who has got a lot of attention for himself this week, about what he's been doing in the supermarket; and Eshaan Akbar rates the South Korean president's non-apology for imposing martial law, and asks: has democracy had its day? You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show. We've also filmed some exclusive content that won't be part of the podcast, which will be coming out over the next few weeks - so hop on over if you want to see out interviews with disgraced TV chef Craigg Rommit and, soon, Doctor Professor Doctor Jordan B. Petersen, PhD, who tells us about his new book Wrestle Me, Jesus. With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Sooz Kempner, Will Sebag-Montefiore, and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. Sooz has gigs coming up in Falkirk, Manchester and London, and you should go and see her live. Tickets available here. Will mainly does his videos for Instagram now, so pop over there, check them out, and subscribe. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices

Sound Heap CEO and Fun Captain John-Luke Roberts presents a selection of the best shows on the Sound Heap Inc. network this week. It's like Radio 4's Pick of the Week, but he makes money from his recommendations.This week you'll clear clips fromElty Jom's Lobbly SondsTomorrow's Tomorrow's Tomorrow, the future-tech podcastOh My Gosh, What An Awful DateDiary Of A Tiny CEOI Lived It: I Missed The Last Train...and several clips from Let's Talk Taps, the premier podcast for faucet-based conversation.Sound Heap was created and hosted by John-Luke Roberts, and featured Jeremy Bent, Paul Foxcroft, Josh Gondelman, Kieran Hodgson, Rosie Holt, Athena Kugblenu, Joel Morris, Joz Norris, Jonathan Oldfield, Piotr Sikora and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

Harriet and Producer Martin are joined by The New Statesman's Tim Dalton, who explains why Keir Starmer still has a phone contract with One2One and broadband from both Virgin and Sky. They also speak to Spotify's Daniel Elk, taking a peek behind the data-harvesting scenes to find out how their 2024 Wrapped works, and Eshaan Akbar asks: Is Money Woke? You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show, just like new(ish) supporter Jamie Hudson is (thank you). We've also just filmed some exclusive content that won't be part of the podcast, which will be coming out over the next few weeks - so hop on over if you want to see that. With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Gareth Gwynn, Tom Mayo, and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. Gareth co-presents the podcast I'm So Not Over It with Esyllt Sears, and you should listen to it. Tom improvises with Shoot From The Hip, and there are details of their live shows, livestreams and YouTube clips on their website. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices

Harriet and Producer Martin are joined by the man who started the petition calling for a General Election, who explains why he set it up, and which exciting new petitions he's started since then. They also speak to the founder of the Don't Let Unspecified People Die campaign, Veronica De'Ath, about why she's against the Assisted Dying Bill, and Eshaan Akbar explains why PETA is coming for the Great British Pub. You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show, just like new supporter Derran Brown is (thank you). With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Will Sebag-Montefiore, Sooz Kempner, and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. Will has a podcast called Legitimate Likes which is legitimately funny. He also posts funny videos on his Instagram. Sooz does a podcast called Mystery On The Rocks with Chris Stokes and Masud Milas which they solve mysteries and drink cocktails. You can also find her on X: The Everything App and Bluesky. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices

Following a pod-drought caused by an expensive Frenchman, Sound Heap Inc. is delighted to once again be the home of Too Many Podcasts™! Let our CEO and Fun Captain John-Luke Roberts guide you through our plethora of podcasts, which this week include:Pitch It!, where people with brilliant business ideas pitch them to some guyHypotheti-Dads, the podcast for men who want to imagine what it would be like to be a fatherThe dating podcast Oh My Gosh, What An Awful DateEat Up, Eat Up, It'll Go Cold, the podcast that looks inside the world's most unusual restaurantsOpinion Royale, where two people with opinions go head-to-head to find out who's rightStories From Other People's Traumatic Childhoods, Designed To Cheer You Up A Bit...and more!Sound Heap was created and hosted by John-Luke Roberts, and featured Gareth Gwynn, Eleanor Morton, Joz Norris, Jonathan Oldfield, Ada Player, Piotr Sikora and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.

Harriet and Producer Martin are joined by a random woman they met on the farmer's protest, who explains why she was marching, and what she'll do if she's forced to pay inheritance tax like the rest of us. They also speak to commentator The Telegraph's Siobhan Connery about the dead-on-arrival social media website "Bluesky", and Eshaan Akbar says we should celebrate hustlers who know how to make money - like the late Sir Captain Sir Tom Sir Moore. You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show (thank you). With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Davina Bentley, Bethany Black, and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. Davina posts very funny sketches on Instagram, and has a 'video podcast' with Freya Mallard called Binks & Hebrides Whine Time. Bethany is a brilliant stand up and you can buy her show Unwinnable for £5 from Go Faster Stripe. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices

As you probably know, earlier this year Sound Heap Inc. lost a lot of money by signing a 'golden handcuffs' deal with French President Emmanuel Macron.  This left the once-thriving Sound Heap Podcast Network with just one show: Rememberama, the podcast where people remember things. And now Sound Heap CEO and Fun Captain John-Luke Roberts has tried four other ways of dealing with this - denying it had happened, being angry at everyone, trying to cut a deal and just being sad, he's decided to accept what's going on. So please enjoy these clips from the show which would be Sound Heap's best podcast even if it wasn't Sound Heap's only podcast: Rememberama. This week you'll hear people remembering:Louis Theroux revealing that pokémon weren't realThe episode of Rainbow that made it clear that Zippy had an anusBanksy's latte artLondon 2012's controversial Olympic mascotThe McDonald's advert that... the advert which... ...What?Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Margaret Cabourn Smith,  Saima Ferdows, Alice Fraser, Josh Gondelman, Derek Mitchell, Joz Norris, Ada Player, Marjolein Robertson, Piotr Sikora, Lorna Rose Treen and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.

Harriet and Producer Martin are joined by the band new leader of the opposition (and next Prime Minister!) Kemi Badenoch, who explains why Starmer should fear her and why she isn't fiddling with things in the back end. They also speak to podcaster Rory Stewart about his pre-election prediction of a Harris landslide, and Eshaan Akbar weighs in on the reason Harris lost. You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show (thank you). With thanks to Rosie Holt, Brendan Murphy, Eshaan Akbar, Kelechi Okafor, Joz Norris, and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. All of Kelechi's content can be found on her website, including podcasts, newsletters and videos. Joz is crowdfunding for a new sitcom, The Happiness Chain. Take a look and, if it seems like something you'd like to exist, feel free to chip in. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production Learn more about your ad choices. Visit megaphone.fm/adchoices

This week it's a budget special, as we give you all the analysis you need. Harriet Langley-Swindon and Producer Martin are joined by "Red Rachel", Rachel Reeves, who explains why this new budget proves that she is further to the left than Stalin. For more sensible anlysis we're joined by Greg Mustard from the Independent Foundation For the Independently Independent Analysis Of Money, who explains why the budget is further to the left than Stalin. And finally, former banker Eshaan Akbar offers up an alternative budget that makes more sense, and we find out who the British Elon Musk is. You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show (thank you). With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Eshaan Akbar (@eshaanakbar), Davina Bentley (@davinabentley), Paul Dunphy (@mrpauldunphy), and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. Davina posts very funny sketches on Instagram, and has a 'video podcast' with Freya Mallard called Binks & Hebrides Whine Time. Paul does sketches with Larry Budd as Larry & Paul, so check out their Broken News sketches every week on their YouTube channel. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, it's back to service as usual - or, should we say, Sound Heap as usual! After being reduced to just one podcast, Rememberama (the podcast for people who like to remember things), because we lost a lot of money to Emmanuel Macron over the summer, Sound Heap CEO & Fun Captain John-Luke Roberts can now proudly present selections from our  back-to-normal-sized slate of podcasts!In this week's Sound Heap Taste Pod you'll be hearing clips from:Nostalgiarama: the podcast for people who like to be nostalgic about thingsPastarama: the podcast that isn't about pasta!and, for old time's sake,  a long clip from this week's episode of Rememberama!Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Ruby Carr,  Margaret Cabourn Smith,  Saima Ferdows, Alice Fraser, Josh Gondelman, Gareth Gwynn,  Derek Mitchell, Joz Norris, Jonathan Oldfield, Marjolein Robertson, Esyllt Sears, Piotr Sikora, Lorna Rose Treen and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

This week Harriet Langley-Swindon and Producer Martin are joined by a Democratic activist, Allison Shelby, who explains how noted election-winner, Labour's Jonathan Ashworth, has been helping in the American election; The Daily Australian's columnist Kent Packer-Murdoch gives us an Australian's eye on Senator Lidia Thorpe's heckling of HRH Sir King Prince Charles; and with Commonwealth nations putting reparations for slavery on the agenda, the Foreign Office's Simon Briefcase explains why the British government would rather look forward, or to the side, or perhaps just shut their eyes. You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show (thank you). With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Sooz Kempner (@SoozUK), John Robertson (@Robbotron), Will Sebag-Montefiore (@wsebag) and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Sooz is on tour all over the UK with her acclaimed show Class Of 2000, so get tickets to that while you can. John will be at Comicon this weekend with his live show, The Dark Room. Go to his website for details of all his upcoming appearances, including Twitch streams. Will has a podcast called Legitimate Likes that you should listen to. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Harriet Langley-Swindon and Producer Martin are joined by a real doctor, Dr. Junpier Mangals, who is a real doctor so can explain why Wes Streeting's plan to get overweight people back to work is so brilliant; journalist Dave Milk tells us why his coverage of Keir Starmer's freebie scandals is so important; and Eshaan Akbar presents the first real, tangible Brexit Benefit: stealing German football managers. You can get early, ad-free episodes, full videos of every segment, and bonus podcasts, at Patreon.com/NonCensored, where you'll also be supporting the show (thank you). With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Eshaan Akbar (@eshaanakbar), Sooz Kempner (@SoozUK), Marek Larwood (@MarekLarwood) and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special on YouTube, The Pretender, and he is going on tour next year with his show Yum. Sooz is on tour all over the UK with her acclaimed show Class Of 2000, so get tickets to that while you can. Marek's YouTube channel is brilliant, go and watch his videos. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/adchoices

You might remember Remberama as the only remaining podcast that Sound Heap have to offer, thanks to a series of financially ruinous decisions. But thanks to our new sponsor, our CEO and Fun Captain John-Luke Roberts can now present to you... two podcasts! So, while this episode mostly consists of clips from Rememberama, which has a lot of episodes and is - and we cannot stress this enough - very cheap, we are also delighted to share a full episode of our brand new podcast Quick Quoffee Questions. Enjoy - thanks to our new sponsor!In this week's Rememberama you'll be hearing people remember:When Kirsten Stewart dated GruThe most shocking Garfield EVERThe cinema seat revolution90s diet fads, such as the Ghost Diet and the Holes-Only DietHow Steven Spielberg ensured children would only want official Jurassic Park merchandise...and much, much more!  Again, thanks to our new sponsor.Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Ruby Carr, Saima Ferdows, Josh Gondelman, Gareth Gwynn,  Derek Mitchell, Joz Norris, Jonathan Oldfield, Marjolein Robertson, Esyllt Sears, Piotr Sikora, Margaret Cabourn Smith and Lorna Rose Treen. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

With extra finance apparently not forthcoming, despite multiple calls to venture capital funds, Sound Heap CEO and Fun Captain John-Luke Roberts brings you yet more highlights from Sound Heap's best and, still, only podcast: Rememberama, the podcast for people who like to remember things. This week you'll hear people remembering:When police sirens were replaced by pop songsThe world's most famous virginWhen children had to carve their own shoes out of leatherThe research that proved that slinkies could  feel painThangs that were cool in the '90sPogsAnd much, much more.  If you enjoy the show and are a benevolent billionaire who wants to fund more like it, please get in touch. Or even a malevolent billionaire - we're not fussy.Sound Heap was created and hosted by John-Luke Roberts, and featured Andy Barr, Margaret Cabourn-Smith, Saima Ferdows, Alice Fraser, Gareth Gwynn, Derek Mitchell, Joz Norris, Marjolein Robertson, Esyllt Sears and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

Harriet Langley-Swindon and Producer Martin are joined by the Prime Minister, Sir Keir Starmer, who is frankly depressed at how hard the job is turning out to be. They also speak to entertainment reporter Henny Ffairground about the latest TV format for Men Who Made Mistakes But Are Very Sorry So Let's Move On, and Eshaan Akbar rates a comedy club's apology for not booking enough women. We have a live show at the Cheerful Earful festival on the 16th October - tickets are available at cheerfulearful.co.uk Thanks to Adam Hutchins for signing up to our Patreon this week. He'll be getting ad-free episodes, full videos of every segment, and bonus podcasts, such as this week's Time For Questions, where Harriet, Martin and Eshaan answer YOUR questions - and if that sounds good, head to Patreon.com/NonCensored and sign up. With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Eshaan Akbar (@eshaanakbar), Joz Norris (@JozNorris), Esyllt Sears (@EsylltMair) and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special, The Pretender, available to watch for free on YouTube, and he is going on tour next year with his show Yum. Joz has two work-in-progress gigs at the Pleasance for his show, You Wait. Time Passes, on the 10th and 11th October. Esyllt co-hosts the soon-to-be-rebranded podcast The Xennial Dome, so tuck into their back catalogue before they return under their new name. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Harriet Langley-Swindon and Producer Martin are joined by the leader of the Liberal Democrats, Sir Ed Davey, who explains the lengths he'll go to to get the media's attention, and also the Lib Dems polices that aren't about the NHS. They also speak to Sir Keir Starmer's personal stylist, Co Co, about the brand, the icon, the cultural event that is Keir Auumn. And get your burn medication ready, because Eshaan Akbar has a Hot & Spicy Take about parmicists. We have a live show at the Cheerful Earful festival on the 16th October - tickets are available at cheerfulearful.co.uk We are recording one of our monthly Q&A "Time For Questions" episodes for our Patreons next week, so sign up at patreon.com/NonCensored if you want to ask Harriet, Martin and/or Eshaan a question. With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Eshaan Akbar (@eshaanakbar), Rufus Hound (@rufushound), Davina Bentley (@DavinaBentley) and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special, The Pretender, available to watch for free on YouTube, and he is going on tour next year with his show Yum. Davina posts very funny sketches on Instagram, and has a 'video podcast' with Freya Mallard called Binks & Hebrides Whine Time. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/adchoices

Sound Heap with John-Luke Roberts returns, with highlights from the best - and, due to a financial shortfall caused by the expensive signing of unpopular French President Emmanuel Macron to a "golden handcuff" deal, only - podcast currently on the Sound Heap podcast network: Rememberama, the podcast for people who like to remember things.In this episode, you'll hear people remembering"Double Bubble" Coca-Cola, which has twice the number of bubbles of regular CokeWhen ABBA added a W and became WABBAMeryl Streep's Saturday morning kids' TV show, Meryl Streep & The StreeplingsWhen ITV's Gladiators added a bear to the showThe 2001 moral panic over animal nudityThe episode of The X-Files where nothing weird happened...and more!If you would like Sound Heap to make more podcasts, and have a lot of money you can give us to make them, please do get in touch (no time wasters). Sound Heap was created and hosted by John-Luke Roberts, and featured Margaret Cabourn-Smith, Saima Ferdows, Alice Fraser, Eleanor Morton, Joz Norris, Marjolein Robertson and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

Harriet Langley-Swindon and Producer Martin are joined by the once and future president, Donald Trump, who explains how well he did in the Presidential debate. They also speak to an MP who was recently in some kind of leadership contest, we think [someone please check this before hitting publish], and Eshaan Akbar joins us for bare opinions about bear hats. Thank you to Jonathon Bolton and Alex Cameron, who both signed up for our Patreon - patreon.com/NonCensored - where they'll get early, ad-free episodes, full video segments and bonus content. We have a live show at the Cheerful Earful festival on the 16th October - tickets are available at cheerfulearful.co.uk Any questions? Send them to noncensoredpodcast@gmail.com. With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Eshaan Akbar (@eshaanakbar), Luke Kempner (@LukeKempner), Sooz Kempner (@SoozUK) and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special, The Pretender, available to watch for free on YouTube, and he is going on tour next year with his show Yum. Luke is currently appearing in Les Miserables in London's glittering West End. He also co-hosts the Premier League podcast He Knows The Score. Sooz is taking her smash-hit, five-star Edinburgh show Class of 2000 on tour this autumn and you can - and should - get tickets here. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/adchoices

NonCensored is back with a bang - Harriet Langley-Swindon and Producer Martin are joined by new Chancellor Rachel Reeves - that's not our fault - and by Eshaan Akbar, who explains why we need more shame in our lives. Harriet also speaks to the Honourable Sir Lord Hughdith Anglesey Jones Vaguely-Blythe IV, 132nd Baronet of Little Lower Upminster-on-Wye, about how he can save British democracy by remaining in the House of Lords. If you enjoy NonCensored, please consider supporting us on Patreon - patreon.com/NonCensored - where you'll get full video segments and bonus content except this week because there's been some illness and it's a miracle there was even a show. We have a live show at the Cheerful Earful festival on the 16th October - tickets are available at cheerfulearful.co.uk Any questions? Send them to noncensoredpodcast@gmail.com. With thanks to Rosie Holt (@RosieisaHolt), Brendan Murphy (@notmurphy), Eshaan Akbar (@eshaanakbar), Davina Bentley (@DavinaBentley), Marcus Brigstocke (@marcusbrig) and Ed Morrish. Rosie's book, Why We Were Right, is available now. Brendan is taking his show, Buffy Revamped, on tour all over Britain, and you can see dates and buy tickets here. Eshaan has a stand-up special, The Pretender, available to watch for free on YouTube, and he is going on tour next year with his show Yum. Davina posts very funny sketches on Instagram, and has a 'video podcast' with Freya Mallard called Binks & Hebrides Whine Time. Marcus has a podcast with Rachel Parris called How Was It For You?, and you should listen to it. Ed also produces Sound Heap With John-Luke Roberts. If you like improvised character comedy, it's probably your sort of thing. Show photography is by Karla Gowlett and design is by Chris Barker. Original music is by Paddy Gervers and Rob Sell at Torch and Compass. NonCensored is a Lead Mojo production. Learn more about your ad choices. Visit megaphone.fm/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/sundaynightmystery 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   
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       Hancock's Half Hour was a BBC radio comedy, and later television comedy series, broadcast from 1954 to 1961 and written by Ray Galton and Alan Simpson. The series starred Tony Hancock, with Sidney James; the radio version also co-starred, at various times, Moira Lister, Andrée Melly, Hattie Jacques, Bill Kerr and Kenneth Williams.   The final television series, renamed simply Hancock, starred Hancock alone. Hancock played an exaggerated and much poorer version of his own character and lifestyle, Anthony Aloysius St John Hancock, a down-at-heel comedian living at the dilapidated 23 Railway Cuttings in East Cheam. The series was influential in the development of the situation comedy, with its move away from radio variety towards a focus on character development. The radio version was produced by Dennis Main Wilson for most of its run. After Main Wilson departed for his television career, his role was taken by Tom Ronald. The television series was produced by Duncan Wood. The distinctive tuba-based theme tune was composed by Angela Morley. Ten scripts (nine TV, one radio) were written but never recorded for a variety of reasons. The unused radio script for The Counterfeiter was finally recorded in 2019 with Kevin R. McNally as Tony Hancock.   Most of the radio episodes were recorded between one day and three weeks in advance of broadcast, except for Series 6 which was mostly recorded during a three-week period in June 1959 in order to avoid clashing with the recording of Series 5 of the television show. Galton and Simpson never gave titles to any of their Hancock scripts, for radio or television; this was usually left to the girl who filed the scripts at their office, who gave them names that were a reminder of what the script was about. So when Roger Wilmut came to write his book Tony Hancock – Artiste (first published 1978) he took the liberty of inventing titles where necessary and these titles, a combination of the file names and Wilmut's own, have become the accepted ones ever since, with the approval of Galton and Simpson and the BBC. The regular cast members generally played "themselves", in that the characters were called by the actor's real name (although the English actress Andrée Melly – sister of George – played a French character). However, there were exceptions: Kenneth Williams played a series of unnamed characters referred to in the scripts—but not on air—as "Snide". He also played the very occasional roles of Edwardian Fred (a criminal associate of Sid's) and Hancock's Vicar, as well as various other characters (e.g. a judge). In the episode "The Emigrant" he is allowed to break the fourth wall and refer to himself as "that bloke with the funny voice".
Hattie Jacques played Griselda Pugh, Hancock's secretary, with the exception of the episode "The East Cheam Drama Festival" where she played herself.
Alan Simpson played an unnamed man in early episodes who listened patiently to Hancock's long-winded stories. His lines would frequently be restricted to simply "Yes", "Really?", "Mm-hmm", or "I see".
These performers are present in the series as indicated below. Series 1 (1954–1955)
16 episodes, 2 November 1954 – 15 February 1955 
Regular cast: Tony Hancock, Bill Kerr, Moira Lister, Sid James, Kenneth Williams, Alan Simpson (uncredited). Three of this cast (Kerr, Lister and James) were born in South Africa.
Guest Stars: Gerald Campion (episode 1), Dora Bryan (episode 10), Paul Carpenter (episode 10), Brian Johnston (episode 12), Raymond Baxter (episode 12), Peter Sellers (episode 15).
The First Night Party
The Diamond Ring †
The Idol
The Boxing Champion
The Hancock Festival †
The New Car
The Department Store Santa †
Christmas at Aldershot †
The Christmas Eve Party †
Cinderella Hancock
A Trip To France
The Monte Carlo Rally
A House on the Cliff
The Sheikh
The Marriage Bureau
The End of the Series
Episodes 2, 5, 7, 8 and 9 no longer exist. On 30 September 2022 it was announced that Richard Harrison of the Radio Circle had found the original recording of The Marriage Bureau, and Keith Wickham, also of the Radio Circle, had restored the edition. The episode aired on BBC Radio 4 for the first time since 1955 on 18 October 2022. This episode was particularly significant given it featured the only Hancock guest appearance by Peter Sellers. In April 2014 the BBC started to re-record the lost episodes under the banner The Missing Hancocks, produced by Neil Pearson and Ed Morrish. The scripts for this five-episode run were selected by Galton and Simpson and recorded in their presence, with Kevin McNally taking the part of Tony Hancock. From the original first series they chose "The Hancock Festival", which aired in November 2014, the sixtieth anniversary of its first airing. The project would eventually re-record all the missing episodes. "The Marriage Bureau", which was still missing at the time, was re-recorded in September 2015 and broadcast on 7 December 2015. "The Department Store Santa" was re-recorded on 3 September 2017 and broadcast in December 2018, opening the fourth series of The Missing Hancocks. On 24 September 2017 "Christmas at Aldershot" was re-recorded for broadcast on Christmas Day 2019 along with "The Christmas Eve Party" which was broadcast on 21 December 2021. "The Diamond Ring" was re-recorded on 11 January 2019 and broadcast (in keeping with its Guy Fawkes theme) on 5 November 2019. One no longer extant episode (5) features the only Hancock guest appearance by Spike Milligan. Series 2 (1955)
12 episodes, 17 April – 2 July 1955
Regular cast: Harry Secombe (Episodes 1–4), Tony Hancock (Episodes 4–12), Bill Kerr, Sid James, Andrée Melly, Kenneth Williams, Alan Simpson (uncredited)
A Holiday in France †
The Crown Jewels †
The Racehorse †
A Visit To Swansea
The Holiday Camp
The Chef That Died of Shame
Prime Minister Hancock †
The Rail Strike
The Television Set
The Three Sons †
The Marrow Contest
The Matador †
Episodes 1, 2, 3, 7, 10 and 12 (half the series, including the first three of Harry Secombe's guest appearances) no longer exist. Shortly before the series was due to be recorded Hancock walked out on a theatre performance suffering from "nervous exhaustion" and flew to Rome. Harry Secombe was brought in at short notice to replace Hancock. Secombe starred in the first three episodes and made a guest appearance in the fourth, by which time Hancock had returned to complete the series as scheduled. The fourth episode, "A Visit To Swansea", featured Tony being forced to go and thank Harry who'd returned to Wales, and was littered with references to how good Secombe had been. Had Hancock not returned when he did, then Galton and Simpson planned to replace him permanently with Secombe and rename the series Secombe's Half Hour. In April 2014 the BBC re-recorded "The Matador", chosen by Galton and Simpson, for the first series of The Missing Hancocks. On 2 December 2016 the BBC re-recorded "A Holiday in France" followed by "The Race Horse" and "The Crown Jewels" with Andy Secombe as his late father Harry. On 13 January 2019 "Prime Minister Hancock" was re-recorded for broadcast on 18 December that year. Also re-recorded was "A Visit To Swansea" which was then missing, as none of the Secombe episodes had been kept: however, on 11 October 2023 radio enthusiast Richard Harrison announced he had found an off-air copy of "A Visit To Swansea", missing only the first two minutes prior to Hancock's entrance. Series 3 (1955–1956)
20 episodes, 19 October 1955 – 29 February 1956
Regular cast: Tony Hancock, Bill Kerr, Sid James, Andrée Melly, Kenneth Williams, Alan Simpson (uncredited).
Guest Stars: Graham Stark (episode 10), Dora Bryan (episode 11), John Arlott (episode 20), Godfrey Evans (episode 20), Colin Cowdrey (episode 20), Frank Tyson (episode 20).
The Pet Dog
The Jewel Robbery
The Bequest
The New Neighbour †
The Winter Holiday †
The Blackboard Jungle
The Red Planet †
The Diet
A Visit To Russia †
The Trial of Father Christmas †
Cinderella Hancock (a new production of the 10th of the 1st series) †
The New Year Resolutions †
Hancock's Hair
The Student Prince
The Breakfast Cereal †
How Hancock Won The War
The Newspaper †
The Greyhound Track
The Conjurer
The Test Match
Episodes 4, 5, 7, 9, 10, 11, 12, 15 and 17 no longer exist. Only a short extract from episode 12 survives; this plus episodes 8 and 16 only survive in poor sound quality. "The Blackboard Jungle" was recovered in 2002 from off-air home recordings made by listener Vic Rogers, along with the original version of "The New Secretary" from series 4. In April 2014 the BBC re-recorded "The New Neighbour", "The Breakfast Cereal" and "The Newspaper", selected by and recorded in the presence of Galton and Simpson, for the first series of The Missing Hancocks. The episodes were broadcast on Radio 4 in October and November 2014. On 21 July 2015 the BBC re-recorded "The Red Planet" and "How Hancock Won The War" for broadcast in November as part of the second series. "A Visit To Russia" and "The Trial of Father Christmas" were re-recorded in September 2015 for broadcast in December. On 3 September 2017 the BBC re-recorded "The Winter Holiday" for broadcast in the fourth series. Episode 11 of the third series was supposed to be a new episode called "The Counterfeiter", about Bill Kerr being forced to get a job, but the script went unused and a new version of "Cinderella Hancock" was recorded in its place. On 11 January 2019, the cast of The Missing Hancocks recorded the episode for the first time at the BBC Radio Theatre. It was broadcast on 1 January 2020. "The New Year Resolutions" was re-recorded on 13 January 2019 for broadcast on 31 December 2020. Series 4 (1956–1957)
20 episodes, 14 October 1956 – 24 February 1957
Regular cast: Tony Hancock, Sid James, Hattie Jacques (debut in Episode 5), Bill Kerr, Kenneth Williams.
Back From Holiday
The Bolshoi Ballet
Sid James's Dad
The Income Tax Demand
The New Secretary
Michelangelo 'Ancock
Anna and the King of Siam
Cyrano De Hancock
The Stolen Petrol
The Espresso Bar
Hancock's Happy Christmas
The Diary
The 13th of the Series
Almost A Gentleman
The Old School Reunion
The Wild Man of the Woods
Agricultural 'Ancock
Hancock in the Police
The Emigrant
The Last of the McHancocks - with James Robertson Justice
All episodes still exist, though episode 3 only survives in poor sound quality. Series 5 (1958)
20 episodes, 21 January – 3 June 1958
Regular cast: Tony Hancock, Sid James, Hattie Jacques, Bill Kerr, Kenneth Williams.
The New Radio Series - includes reference to series 3 of the TV series which had just finished.
The Scandal Magazine - with John Vere
The Male Suffragettes
The Insurance Policy
The Publicity Photograph
The Unexploded Bomb
Hancock's School
Around the World in Eighty Days
The Americans Hit Town
The Election Candidate
Hancock's Car
The East Cheam Drama Festival
The Foreign Legion
Sunday Afternoon at Home
The Grappling Game
The Junkman
Hancock's War
The Prize Money
The Threatening Letters
The Sleepless Night
All episodes still exist. Welcome to London was broadcast live on 3 August 1958 on the BBC Light Programme from the London Coliseum to commemorate the Cardiff British Empire and Commonwealth Games. It features a nine-minute sketch with Hancock, James and Kerr. A recording of the whole 90-minute programme was discovered in the collection of Bob Monkhouse after his death. The Hancock sketch has been broadcast on BBC Radio 4 Extra. Christmas Special
"Bill and Father Christmas" Cast: Tony Hancock, Sid James, Hattie Jacques, Bill Kerr, Warren Mitchell

 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 
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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/sundaynightmystery 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   
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       Hancock's Half Hour was a BBC radio comedy, and later television comedy series, broadcast from 1954 to 1961 and written by Ray Galton and Alan Simpson. The series starred Tony Hancock, with Sidney James; the radio version also co-starred, at various times, Moira Lister, Andrée Melly, Hattie Jacques, Bill Kerr and Kenneth Williams.   The final television series, renamed simply Hancock, starred Hancock alone. Hancock played an exaggerated and much poorer version of his own character and lifestyle, Anthony Aloysius St John Hancock, a down-at-heel comedian living at the dilapidated 23 Railway Cuttings in East Cheam. The series was influential in the development of the situation comedy, with its move away from radio variety towards a focus on character development. The radio version was produced by Dennis Main Wilson for most of its run. After Main Wilson departed for his television career, his role was taken by Tom Ronald. The television series was produced by Duncan Wood. The distinctive tuba-based theme tune was composed by Angela Morley. Ten scripts (nine TV, one radio) were written but never recorded for a variety of reasons. The unused radio script for The Counterfeiter was finally recorded in 2019 with Kevin R. McNally as Tony Hancock.   Most of the radio episodes were recorded between one day and three weeks in advance of broadcast, except for Series 6 which was mostly recorded during a three-week period in June 1959 in order to avoid clashing with the recording of Series 5 of the television show. Galton and Simpson never gave titles to any of their Hancock scripts, for radio or television; this was usually left to the girl who filed the scripts at their office, who gave them names that were a reminder of what the script was about. So when Roger Wilmut came to write his book Tony Hancock – Artiste (first published 1978) he took the liberty of inventing titles where necessary and these titles, a combination of the file names and Wilmut's own, have become the accepted ones ever since, with the approval of Galton and Simpson and the BBC. The regular cast members generally played "themselves", in that the characters were called by the actor's real name (although the English actress Andrée Melly – sister of George – played a French character). However, there were exceptions: Kenneth Williams played a series of unnamed characters referred to in the scripts—but not on air—as "Snide". He also played the very occasional roles of Edwardian Fred (a criminal associate of Sid's) and Hancock's Vicar, as well as various other characters (e.g. a judge). In the episode "The Emigrant" he is allowed to break the fourth wall and refer to himself as "that bloke with the funny voice".
Hattie Jacques played Griselda Pugh, Hancock's secretary, with the exception of the episode "The East Cheam Drama Festival" where she played herself.
Alan Simpson played an unnamed man in early episodes who listened patiently to Hancock's long-winded stories. His lines would frequently be restricted to simply "Yes", "Really?", "Mm-hmm", or "I see".
These performers are present in the series as indicated below. Series 1 (1954–1955)
16 episodes, 2 November 1954 – 15 February 1955 
Regular cast: Tony Hancock, Bill Kerr, Moira Lister, Sid James, Kenneth Williams, Alan Simpson (uncredited). Three of this cast (Kerr, Lister and James) were born in South Africa.
Guest Stars: Gerald Campion (episode 1), Dora Bryan (episode 10), Paul Carpenter (episode 10), Brian Johnston (episode 12), Raymond Baxter (episode 12), Peter Sellers (episode 15).
The First Night Party
The Diamond Ring †
The Idol
The Boxing Champion
The Hancock Festival †
The New Car
The Department Store Santa †
Christmas at Aldershot †
The Christmas Eve Party †
Cinderella Hancock
A Trip To France
The Monte Carlo Rally
A House on the Cliff
The Sheikh
The Marriage Bureau
The End of the Series
Episodes 2, 5, 7, 8 and 9 no longer exist. On 30 September 2022 it was announced that Richard Harrison of the Radio Circle had found the original recording of The Marriage Bureau, and Keith Wickham, also of the Radio Circle, had restored the edition. The episode aired on BBC Radio 4 for the first time since 1955 on 18 October 2022. This episode was particularly significant given it featured the only Hancock guest appearance by Peter Sellers. In April 2014 the BBC started to re-record the lost episodes under the banner The Missing Hancocks, produced by Neil Pearson and Ed Morrish. The scripts for this five-episode run were selected by Galton and Simpson and recorded in their presence, with Kevin McNally taking the part of Tony Hancock. From the original first series they chose "The Hancock Festival", which aired in November 2014, the sixtieth anniversary of its first airing. The project would eventually re-record all the missing episodes. "The Marriage Bureau", which was still missing at the time, was re-recorded in September 2015 and broadcast on 7 December 2015. "The Department Store Santa" was re-recorded on 3 September 2017 and broadcast in December 2018, opening the fourth series of The Missing Hancocks. On 24 September 2017 "Christmas at Aldershot" was re-recorded for broadcast on Christmas Day 2019 along with "The Christmas Eve Party" which was broadcast on 21 December 2021. "The Diamond Ring" was re-recorded on 11 January 2019 and broadcast (in keeping with its Guy Fawkes theme) on 5 November 2019. One no longer extant episode (5) features the only Hancock guest appearance by Spike Milligan. Series 2 (1955)
12 episodes, 17 April – 2 July 1955
Regular cast: Harry Secombe (Episodes 1–4), Tony Hancock (Episodes 4–12), Bill Kerr, Sid James, Andrée Melly, Kenneth Williams, Alan Simpson (uncredited)
A Holiday in France †
The Crown Jewels †
The Racehorse †
A Visit To Swansea
The Holiday Camp
The Chef That Died of Shame
Prime Minister Hancock †
The Rail Strike
The Television Set
The Three Sons †
The Marrow Contest
The Matador †
Episodes 1, 2, 3, 7, 10 and 12 (half the series, including the first three of Harry Secombe's guest appearances) no longer exist. Shortly before the series was due to be recorded Hancock walked out on a theatre performance suffering from "nervous exhaustion" and flew to Rome. Harry Secombe was brought in at short notice to replace Hancock. Secombe starred in the first three episodes and made a guest appearance in the fourth, by which time Hancock had returned to complete the series as scheduled. The fourth episode, "A Visit To Swansea", featured Tony being forced to go and thank Harry who'd returned to Wales, and was littered with references to how good Secombe had been. Had Hancock not returned when he did, then Galton and Simpson planned to replace him permanently with Secombe and rename the series Secombe's Half Hour. In April 2014 the BBC re-recorded "The Matador", chosen by Galton and Simpson, for the first series of The Missing Hancocks. On 2 December 2016 the BBC re-recorded "A Holiday in France" followed by "The Race Horse" and "The Crown Jewels" with Andy Secombe as his late father Harry. On 13 January 2019 "Prime Minister Hancock" was re-recorded for broadcast on 18 December that year. Also re-recorded was "A Visit To Swansea" which was then missing, as none of the Secombe episodes had been kept: however, on 11 October 2023 radio enthusiast Richard Harrison announced he had found an off-air copy of "A Visit To Swansea", missing only the first two minutes prior to Hancock's entrance. Series 3 (1955–1956)
20 episodes, 19 October 1955 – 29 February 1956
Regular cast: Tony Hancock, Bill Kerr, Sid James, Andrée Melly, Kenneth Williams, Alan Simpson (uncredited).
Guest Stars: Graham Stark (episode 10), Dora Bryan (episode 11), John Arlott (episode 20), Godfrey Evans (episode 20), Colin Cowdrey (episode 20), Frank Tyson (episode 20).
The Pet Dog
The Jewel Robbery
The Bequest
The New Neighbour †
The Winter Holiday †
The Blackboard Jungle
The Red Planet †
The Diet
A Visit To Russia †
The Trial of Father Christmas †
Cinderella Hancock (a new production of the 10th of the 1st series) †
The New Year Resolutions †
Hancock's Hair
The Student Prince
The Breakfast Cereal †
How Hancock Won The War
The Newspaper †
The Greyhound Track
The Conjurer
The Test Match
Episodes 4, 5, 7, 9, 10, 11, 12, 15 and 17 no longer exist. Only a short extract from episode 12 survives; this plus episodes 8 and 16 only survive in poor sound quality. "The Blackboard Jungle" was recovered in 2002 from off-air home recordings made by listener Vic Rogers, along with the original version of "The New Secretary" from series 4. In April 2014 the BBC re-recorded "The New Neighbour", "The Breakfast Cereal" and "The Newspaper", selected by and recorded in the presence of Galton and Simpson, for the first series of The Missing Hancocks. The episodes were broadcast on Radio 4 in October and November 2014. On 21 July 2015 the BBC re-recorded "The Red Planet" and "How Hancock Won The War" for broadcast in November as part of the second series. "A Visit To Russia" and "The Trial of Father Christmas" were re-recorded in September 2015 for broadcast in December. On 3 September 2017 the BBC re-recorded "The Winter Holiday" for broadcast in the fourth series. Episode 11 of the third series was supposed to be a new episode called "The Counterfeiter", about Bill Kerr being forced to get a job, but the script went unused and a new version of "Cinderella Hancock" was recorded in its place. On 11 January 2019, the cast of The Missing Hancocks recorded the episode for the first time at the BBC Radio Theatre. It was broadcast on 1 January 2020. "The New Year Resolutions" was re-recorded on 13 January 2019 for broadcast on 31 December 2020. Series 4 (1956–1957)
20 episodes, 14 October 1956 – 24 February 1957
Regular cast: Tony Hancock, Sid James, Hattie Jacques (debut in Episode 5), Bill Kerr, Kenneth Williams.
Back From Holiday
The Bolshoi Ballet
Sid James's Dad
The Income Tax Demand
The New Secretary
Michelangelo 'Ancock
Anna and the King of Siam
Cyrano De Hancock
The Stolen Petrol
The Espresso Bar
Hancock's Happy Christmas
The Diary
The 13th of the Series
Almost A Gentleman
The Old School Reunion
The Wild Man of the Woods
Agricultural 'Ancock
Hancock in the Police
The Emigrant
The Last of the McHancocks - with James Robertson Justice
All episodes still exist, though episode 3 only survives in poor sound quality. Series 5 (1958)
20 episodes, 21 January – 3 June 1958
Regular cast: Tony Hancock, Sid James, Hattie Jacques, Bill Kerr, Kenneth Williams.
The New Radio Series - includes reference to series 3 of the TV series which had just finished.
The Scandal Magazine - with John Vere
The Male Suffragettes
The Insurance Policy
The Publicity Photograph
The Unexploded Bomb
Hancock's School
Around the World in Eighty Days
The Americans Hit Town
The Election Candidate
Hancock's Car
The East Cheam Drama Festival
The Foreign Legion
Sunday Afternoon at Home
The Grappling Game
The Junkman
Hancock's War
The Prize Money
The Threatening Letters
The Sleepless Night
All episodes still exist. Welcome to London was broadcast live on 3 August 1958 on the BBC Light Programme from the London Coliseum to commemorate the Cardiff British Empire and Commonwealth Games. It features a nine-minute sketch with Hancock, James and Kerr. A recording of the whole 90-minute programme was discovered in the collection of Bob Monkhouse after his death. The Hancock sketch has been broadcast on BBC Radio 4 Extra. Christmas Special
"Bill and Father Christmas" Cast: Tony Hancock, Sid James, Hattie Jacques, Bill Kerr, Warren Mitchell

 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 
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This week we are delighted to announced that Sound Heap CEO and Fun Captain John-Luke Roberts has signed the hugely popular President Emmanuel Macron of France to a golden handcuffs deal, where he'll be taking part in literally dozens of different podcasts, all exclusively on the Sound Heap Inc. network. This episode includes excerpts from:If You Had A Cupboard In Your Lower Back, What Would You Keep In It? with President Emmanuel MacronWhen Will Emmanuel Macron Say "Saucisson"?Dream Time With Emmanuel MacronPresi-danceDiary Of A Tiny CEO, with special guest Emmanuel Macronas well as a few of our podcasts which do NOT feature the democratically-elected leader of any G7 country.Sound Heap was created and hosted by John-Luke Roberts, and featured Tom Bell, Jeremy Bent, Jonny Donohoe, Kieran Hodgson, Rosie Holt, Robin Ince, Stevie Martin, Eleanor Morton, Joz Norris, Luke Rollason, Nic Sampson, Lorna Rose Treen, Bilal and Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

Despite the best efforts of our rivals Guff Pit, who have been sabotaging our studio and shows, CEO and Fun Captain John-Luke Roberts presents more highlights from the Sound Heap podcast network. This week you'll hear from:When Will Sandra Say Sausage?Rememberama: When McDonalds Gave Away Cats With Happy MealsThe Scarecrow Enthusiast PodcastOtherly Ways: The Woman Who Hasn't Washed Since The Blair AdministrationThe Broadway podcast Darling, You've Done it Again!Therapissed!and more, including a podcast that we started recording before anyone had come up with a title or format.Sound Heap was created and hosted by John-Luke Roberts, and featured Tom Bell, Jeremy Bent, Kemah Bob, Margaret Cabourn-Smith, Jonny Donahoe, Josh Gondelman, Kieran Hodgson, Robin Ince, Stevie Martin, Sarah Morgan, Noah Morrish, Eleanor Morrish, Eleanor Morton, Brendan Murphy, John Norris, Joz Norris, Marjolein Robertson, Isy Suttie, Lorna Rose Treen and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

This episode of Sound Heap with John-Luke Roberts demonstrates perfectly why it's the best podcast network in the world - and certainly a better podcast nework than Guff Pit! We mean, does Guff Pit have shows like When I Met Myself I Said HelloSci Why? Impressionists Talk Male Mental HealthHollywood And Hollydid!Footbath, the unofficial companion podcast to the TV show Waterspark (the only dating show set in a waterpark)Macron Yacks OnCastles in the Sand: The Art of Competitive Sand CastlingOf course they don't! So stay right here on the Sound Heap podcast network for all your favourite podcasts.Sound Heap was created and hosted by John-Luke Roberts, and featured Jeremy Bent, Kemah Bob, Margaret Cabourn-Smith, Kieran Hodgson, Athena Kugblenu, Hal Lublin, Stevie Martin, Sarah Morgan, Jordan Morris, Eleanor Morton, John Norris, Joz Norris, Jonathan Oldfield, Nic Sampson, Lorna Rose Treen and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

This week on Sound Heap With John-Luke Roberts - please like and subscribe - Sound Heap CEO slash Fun Captain John-Luke Roberts once again presents - like, subscribe - a selection of the best pods out on the Sound Heap Network this week. Please like and subscribe.This week, you'll hear clips from:The Private Lives of Cereal MascotsCelebrity How Do You WankPlease subscribe, if you like.Should I Be Worried?If You Had A Cupboard In Your Lower Back What Would You Keep In It?Diary of a Tiny CEOSound Heap was created and hosted by John-Luke Roberts, and featured Kieran Hodgson, Rosie Holt, Robin Ince, Emily Lloyd-Saini, Stevie Martin, Eleanor Morton, Joz Norris and Benjamin Partridge. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network. Please like and subscribe.

This week, Sound Heap CEO and Fun Captain John-Luke Roberts addresses the recent spate of hauntings that have been affecting our podcasts. You'll hear clips fromJokes That BreatheTransformeraterors If You Had A Cupboard in Your Lower Back, What Would You Keep In It?, with special guest Liza MinelliThe Official Farrow & Ball PodcastDiary Of A Tiny CEOThen, Then, Then, Then, Then, Then, Then, Then, Then, Then, Then, Then, Then And NowOn the Side, the podcast about surfacesSpeculation On Why Dennis LeftMahoney!, the Police Academy rewatch podcastHopethink...not all of which are haunted.Sound Heap was created and hosted by John-Luke Roberts, and featured Jeremy Bent, Kemah Bob, Kieran Hodgson, Rosie Holt, Sooz Kempner, Anna Leong Brophy, Emily Lloyd-Saini, Hal Lublin, Eleanor Morrish, Eleanor Morton, Joz Norris, Marjolein Robertson, Isy Suttie, Richard Vranch and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

The Heapening continues, where we ask our listeners to support us by sending us money or anything else we can sell off or melt down. While we're grateful for everything our listeners have sent in so far, we do now wish to add some caveats to the sort of things we can accept. Primarily: please stop sending us snakes.Also this week, you'll hear clips fromElty Jom's Lobberly Sonds Field Recordings From A Lesbian Speed Dating Night Where One Woman Won't Stop Talking About GarfieldGuskers and Strawkers and Good Ol' Street BoobsBritain's Weirdest Weirdos. Let's Taste ElectricsHuman Stories, Human Humans, which this week gives a fascinating insight into a theatre camp for billionairesCrifts: The Rifts In CruftsSound Heap was created and hosted by John-Luke Roberts, and featured Tom Bell, Jeremy Bent,  Kemah Bob, Margaret Cabourn-Smith, Kieran Hodgson, Rosie Holt, Athena Kugblenu, Sarah Morgan, Jordan Morris, Eleanor Morton, Joz Norris, Marjolein Robertson and  Richard Vranch. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.

We are delighted to announce the launch of this year's Heapening, when our listeners can show their support by sending us money or any object that we can sell on or melt down. Copper wires in your house? We'll take 'em!And to show you what your trinkets and/or cash are supporting, you'll be hearing from the very best podcasts the Sound Heap network has for you this week, including:Things Which Are Interesting to Me, Jacob Langland And I Hope Are Of Interest To You: Inside Infinite Breasts, The Literary Bachelor Party OrganisersTherapissed, where two drunk psychiatrists violate their vows of confidentialityPolitical-Me-Elmo, which this week looks at the campaign to make road signs more polite.ABBA-lutely, the podcast for ABBA fans, by ABBA fansCastles In The Sand: The World Of Competitive Sand Castling And Sand SculpturingIf There Was Another Member Of The Village People, What Do You Think They Should Wear?I Ate My Pet By Mistake!Noises I RememberSound Heap was created and hosted by John-Luke Roberts, and featured Josh Glanc, Josh Gondelman, Gareth Gwynn, Kieran Hodgson, Sooz Kempner, Anna Leong Brophy, Emily Lloyd-Saini, Stevie Martin, Eleanor Morton, Joz Norris, Benjamin Partridge, David Reed, Marjolein Robertson, Luke Rollason, Isy Suttie and Bilal Zafar. The original music is by Paddy Gervers and Rob Sell at Torch & Compass, and the show was mixed by Rich Evans at Syncbox Post. It was produced and edited by Ed Morrish for Lead Mojo productions.Sound Heap is a proud member of the Maximum Fun network.