Podcast appearances and mentions of Edgar Bergen

This episode was originally released on 12/1/2020. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes. ____________ In Breaking Walls episode 110 we continue our mini-series on the 1948-49 radio season by focusing on news and programming during Christmas week, 1948. —————————— Highlights: • Jack Benny: Leaving for CBS • A northeast blizzard starts holiday week • Edgar Bergen: Also leaving NBC • Walter Winchell's big new ABC deal • Soaps, Queens, and the Chesterfield Supper Club • Monday night belongs to CBS • Lunch with WOR while NBC still owns Tuesday evenings • Fred Waring and Yukon King Gear up For Xmas • Blackie, Gildy, Duffy, and Bing • Abbott, Costello, and Jolson fade, while Suspense soars on Thursday • ABC wins Friday while Skelton gets ready to leave NBC too • Merry Christmas from the Royal Roost in Manhattan • Mary Lee, Grand Central, and Elgin Celebrate Xmas • Sinatra's up-and-down 1948 • Benny and Bergen say goodbye to NBC —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material used in today's episode was: • On the Air — By John Dunning • Network Radio Ratings, 1932-53 — By Jim Ramsburg As well as articles from: • Broadcasting Magazine • The Los Angeles Times • NationalParkService.gov • The New York Daily News • Radio Daily • WhiteHouseHistory.org —————————— On the interview front: • Edgar Bergen, Mel Blanc, Himan Brown, Ken Carpenter, Gale Gordon, Jim Jordan, Harold Peary, Alan Reed, Lurene Tuttle, and Don Wilson were with Chuck Schaden. Hear their full chats at SpeakingOfRadio.com. • Edgar Bergen, Hans Conried, John Gibson, Jim Jordan, and Jan Miner were with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these at Goldenage-WTIC.org. • Ralph Bell, Himan Brown, and Jack Johnstone were with SPERDVAC. For more information, go to SPERDVAC.com • Bing Crosby and John Scott Trotter were with Same Time, Same Station • Eve Arden was with John Dunning • Phil Harris with Jack Carney • Bob Hope with Johnny Carson • Jo Stafford with Michael Feinstein • Frank Sinatra with Larry King • Red Skelton was with Dini Petty —————————— Selected music featured in today's episode was: • It's the Most Wonderful Time of the Year — By Andy Williams • Christmas Dreaming — By Frank Sinatra • Somewhere in My Memory and Star of Bethlehem — By John Williams for Home Alone • Christmas Blues — By Washboard Pete • Tomorrow Shall Be My Dancing Day — By The Marlborough Cathedral Choir • Christmas Carols for 1928 — By Elsie Holt • White Christmas — By Bing Crosby • Have Yourself a Merry Little Christmas — By Mel Torme • Ya Viene La Vieja — By JP Torres

Variety on a WednesdayFirst, a look at the events of the day.Then, The Big Show starring Tallulah Bankhead,  originally broadcast December 10, 1950, 75 years ago.  Tallulah and Charles Boyer appear in, "All The Sad Young Men," by F. Scott Fitzgerald. Joe Bushkin plays his own composition, "Portrait Of Tallulah."  Clifton Webb, Jimmy Durante, and Imogene Coca are featured.  Followed by The Chase and Sanborn Hour starring Rudy Vallee, originally broadcast December 10, 1939, 86 years ago. Edgar Bergen is out sick! Charlie McCarthy reports on his condition from his bedside at St. Vincent's Hospital, Los Angeles. Guest Joan Blondell and Fred MacKaye appear in "After The Party's Gone," by Winston Miller and Michael Jackson. Vera Vague complains that Chivalry is dead. Bergen does two routines from the hospital. Charlie's Christmas shopping service is broke. Lansing Hatfield also appears.  Finally, Claudia, originally broadcast December 10, 1947, 78 years ago, The Joyous News. Breaking the BIG news to Poppa David. Kathryn Bard and Paul Crabtree star.Thanks to Bill B. for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

A Mixed Bag on a WednesdayFirst, a look at the events of the day.Then, Escape, originally broadcast November 12, 1950, 75 years ago,  Earth Abides part 2.  The conclusion of the dramatization of the George R. Stewart novel on the end of the old world and the beginning of a new world. Followed by Jimmy Durante, originally broadcast November 12, 1947, 78 years ago with guest Dorothy Lamour.  Jimmy meets guest Dorothy Lamour on the Super Chief and dreams that he's on a tropical island with her—football predictions by Tommy Harmon. Then, The Chase and Sanborn Hour with host Rudy Vallee, originally broadcast November 12, 1939, 86 years ago, with guest Jean Arthur.   Charlie McCarthy wants his old job back with Edgar Bergen. Guests Jean Arthur and Alan Marshall appear in The Artist by A. A. Milne. Vera Vague lectures about American history. Mortimer Snerd tells Jean Arthur about life back home in Snerdville.Finally, Claudia, originally broadcast November 12, 1947, 78 years ago, The Kittens.  The nurse gets a kitten surrogate: Kathryn Bard and Paul Crabtree star.Thanks to Laurel for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! If you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

Halloween Parties on a ThursdayFirst, a look at this day in History.Then, The Adventures of Archie Andrews starring Bob Hastings, originally broadcast October 30, 1948, 77 years ago, Halloween Party.   Archie throws a Halloween party and finds it's not as much fun to be the host as it is to be the guest.Followed by Jack Benny, originally broadcast October 30, 1938, 87 years ago, Jack Gives a Halloween Party.   Jack is throwing a Halloween party for the gang. Rochester's brother September helps out. Phil brings the beautiful Barbara Whitney to the party. Then, The Chase and Sanborn Hour with host Don Ameche,  originally broadcast October 30, 1938, 87 years ago with guest Madeline Carroll.   Edgar Bergen tells a ghost story on Halloween.  Madeleine Carroll appears opposite Don Ameche in a romantic drama called, "There's Always Juliet." Judy Canova recounts her first visit to a football game. (This program is noted for being broadcast at the same time as "The War Of The Worlds" was heard on "The Mercury Theatre" on CBS.)Finally. Claudia, originally broadcast October 30, 1947, 78 years ago, David's Shirt.  Trying to iron a shirt, Claudia burns it and blows a fuse.    Kathryn Bard and Paul Crabtree star. Thanks to Richard G for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCheck out Professor Bees Digestive Aid at profbees.com and use my promo code WYATT to save 10% when you order! Find the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

Comedy on a TuesdayFirst, a look at the events of the day.Then, My Favorite Husband starring Lucille Ball and Richard Denning, originally broadcast October 21, 1949, 76 years ago, Superstition.  Superstitious Liz tackles "Supercricket."Followed by The Milton Berle Show, originally broadcast October 21, 1947, 78 years ago, A Salute to Good Health.   Milton visits the doctor, but is cured of the hiccups by his neighbor. Then, The Aldrich Family starring Ezra Stone, originally broadcast October 21, 1948, 77 years ago, Baby Sitting or Movies?  Henry tries to make a date with Kathleen, but instead he's been committed to be a babysitter.  Followed by The Charlie McCarthy Show with Edgar Bergen, originally broadcast October 21, 1945, 80 years ago, with guest Fred Allen.   Charlie has started an oyster farm; he's feeding them string so the pearls will come out already strung! "Weekend At Joe's Flophouse," a drama with guest Fred Allen. (Warning:  This episode has some continuity issues and jumps around a bit…sorry.)Finally, Claudia, originally broadcast October 21, 1947, 78 years ago, Return of the Wedding Presents.  David and Claudia are going out for dinner, and Mama is invited. The moving man returns...with the wedding presents.  Kathryn Bard and Paul Crabtree star.Thanks to Laurel for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

Ever feel like you had to start over from zero? I sit down with writer and teacher Peter William Murphy, an Irish expat who rebuilt after a family business collapse, a serious injury, and a move to Reunion Island that reset his path. I wanted to understand what it really takes to choose growth when life gets loud, and Peter shows us how clear decisions, steady practice, and honest support can open new doors. We talk about the power of owning your choices, moving through anxiety, and asking for help before pride gets in the way. Peter explains how he built Peak English to help students raise their IELTS scores and change their futures. We get into how online teaching actually works when you design it with care, why in-person connection still matters, and how writing became a tool for clarity, confidence, and service. What I love most in this conversation is Peter's calm style of resilience. It is not flashy. It is daily. If you are starting over, switching careers, or simply trying to make your next decision with intention, you will hear practical steps you can use right away. I think you will walk away encouraged, with a clearer view of what steady progress looks like and how to keep going when the ground shifts under your feet.   Highlights:   00:10 – Meet the guest and set the theme of choosing growth over comfort. 01:12 – Hear how a family hospitality legacy shaped early values and work ethic. 02:25 – Learn how the 2008 crash ended the bar and pushed a search for a new path. 07:37 – See why a one-way ticket to Reunion Island became a turning point. 10:11 – Follow the move into teaching without a degree and the first classroom wins. 14:20 – Pick up online teaching tactics like gamification and lesson design. 15:56 – Understand imposter syndrome and the pivot into writing and Peak English. 21:16 – Get a clear take on when online learning works and when it does not. 28:38 – Compare virtual vs. in-person speaking for connection and impact. 32:41 – Learn Peak English's mission to make IELTS success more accessible. 46:32 – Try a simple decision tool: write pros and cons and choose with intent. 54:55 – Hear the advice to younger self: talk to someone sooner and keep going   About the Guest:   Peter William Murphy is an Irish writer, educator, and host whose path has been anything but conventional. Raised in a small family-run hotel on Ireland's west coast, Peter immigrated to America following the hotel's closure, attending school there before returning home to rediscover his Irish roots—and a deep love for sport. But beneath the rugby and soccer fields, a creative instinct stirred.   When the 2008 crash brought down his family's business for a second time, Peter booked a one-way ticket to an island off the coast of Madagascar with just €20 and no job prospects. After a brief period of sleeping rough, he was helped by strangers who offered support without judgment—a lesson in quiet empathy that never left him.   Peter made his name on Medium, where he was curated 39 times for his memoir-style essays on travel and the lessons learned along the way, before pivoting to sharp, comedic takes on current affairs. Notable among his growing body of work are original characters like Jack Hennessy, a wry Irish journalist with a nose for trouble, and the Rick and Morty-inspired duo, Peta and Freeman—two chaotic, absurdist voices that serve as both satire and self-reflection. He now splits his creative focus between personal essays, humor writing, and his new livestream comedy podcast, The Peter and Philip Show, which he co-hosts with author Philip Ogley and which is gaining a mini-cult following on Substack. Peter is currently working on a book loosely inspired by his global misadventures, missteps, and the redemptive power of human connection.   Some of Peter's creative and personal heroes include Hunter S. Thompson, Ernest Hemingway, Matt Stone and Trey Parker, as well as his mother, father, and brother—who continue to inspire his voice, values, and pursuit of honest storytelling.   Peter is currently developing the Peta and Freeman series into a comic and is halfway through writing his first novel, The Red Beach in Paradise, which tells the story of his time on Réunion Island through the fictional lens of Jack Hennessy. While Peter still teaches full-time with his own private students, he is also working on opening an online school to help students prepare for exams and gain university admission across Europe. Every cent he earns from his writing goes directly toward making that school a reality.   Ways to connect with Peter:   My GoFundMe to fund the school: Link here Peak English Instagram account: Link here Peak English TikTok: Link here My substack that contains writing and podcasts: Link here My Medium Account: Link here     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Hi, everyone. Welcome wherever you happen to be to unstoppable mindset where inclusion, diversity and the unexpected meet. And today, I think we're mostly going to get to do the unexpected, which is anything that doesn't have to do with inclusion or diversity. Peter Murphy, or Peter William Murphy, as he refers to himself in all the emails that he sends to me, is a writer. He has been a teacher, has an interesting story, I think, all the way around, and I'm not going to tell it, because it's more fun to listen to him tell it, and we'll see what we can learn from it and how we progress. So anyway, Peter, I want to welcome you to unstoppable mindset. We're really glad you're here.   Peter William Murphy ** 02:00 Thank you so much for having me. I really appreciate it.   Michael Hingson ** 02:03 And although Peter is Irish, he's in Turkey today, or he's he's over there, so he does move around, as you're going to learn in the course of this next hour or so. So why don't we start, why don't you tell us, kind of about the early Peter, growing up and so on.   Peter William Murphy ** 02:19 Um, well, I'm from truly, county Terry in Ireland, beautiful small town in the west coast, the Southwest we I come from a family of Hoteliers and publicans. My great grand Well, yeah, my great grandfather had the Meadowlands hotel in Chile, and then passed to my grandfather. But then after that, my father decided to open up his own bar. And that's kind of where after growing up, you know, around the hotel and, you know, seeing all the customers talking to people, very social kind of atmosphere, but unfortunately, it closed down. We had to move to America, back to Ireland. I attended Glendale Abbey school in County Limerick and yeah, I had a great upbringing, great family, but unfortunately, I never really liked school, if I'm be honest with you, which is a strange thing for a teacher today, I did not do well in school. I did just okay. But after the economic crash in 2008 Unfortunately, our family business closed down, so I had to try and find my own path. It was a little bit different than Ireland and I took off, got myself a teaching cert, and went to Reunion Island. And from there, my story kind of took off, and it's kind of where I learned a lot of my lessons. And after that, I just kept on going and didn't stop.   Michael Hingson ** 03:59 So why did the family business closed down the first time.   Peter William Murphy ** 04:04 The first time was because my grandfather basically needed a retirement, and he sold the hotel. And then my father then decided to open up his own bar, and just rising then 10 years later, that closed down during in 2011 I think there is a big economic crash in Ireland, rents went up. People weren't eating or socializing like they were, and through no fault of RL, it was just time to close the doors, which was a pity, because name of the bar was wooly Darcy's. It was a fantastic bar, very social, no televisions, very traditional, and yeah, so we all kind of had to go off and find other ways. And, you know, figure out who we are without, say, bars or. Hells or general hospitality and so kind of, yeah, right.   Michael Hingson ** 05:06 Well, so what? What was the reason for commuting or immigrating all the way to America after that?   Peter William Murphy ** 05:14 Well, we immigrated to America after   Michael Hingson ** 05:17 the hotel, yeah, after the hotel closed, right?   Peter William Murphy ** 05:21 Yeah, that was in 1998 and we were there for maybe two years, I believe, I'm not sure, and went to school there. My father worked in summers pubs, which is owned by my uncle in Boston, and then he made enough money to come back to Ireland in 2000 and open up his own bar. But yeah, it's just,   Michael Hingson ** 05:49 why America? Why America? When the hotel closed, half   Peter William Murphy ** 05:53 our family live over there, so my mom's side of the family live in America. Yeah, okay,   Michael Hingson ** 05:59 well, that makes it a little bit more logical that you would you would consider doing that.   Peter William Murphy ** 06:05 Oh, I loved it, Michael. I After, after two weeks, I was no longer Irish. I was playing baseball, eating pizza. I good American accent. I loved America, I   Michael Hingson ** 06:17 must say now, so are you in the Boston area?   Peter William Murphy ** 06:21 Yeah, we lived in West Roxbury, okay, just outside the city.   Michael Hingson ** 06:26 I lived in Winthrop Massachusetts, which is by East Boston, for three years. Very nice. So I never really got a Boston accent, but I do know how to say things like, pack your kind of have a yacht, you know? I can, I can still do it. Great accent, actually, but that's lovely. But I enjoyed being in Boston and just being around all the history. It's pretty, pretty amazing. But then you move back to Ireland, so that worked out, and he started a bar, and then you did that. So when, when that closed, and then you left again? Why did you leave again?   Peter William Murphy ** 07:06 Uh, basically, um, it feels difficult, kind of speaking about publicly, but I, I was kind of Joe there's, and I say that because there are people out there with bigger problems than me like I was a rugby player and the son of a publican. So for my formative years, my identity, for me at least, was kind of set. I was either going to be a rugby player or I was going to work in a bar or go into hotel management or something like that, but I had a pretty horrific leg injury during rugby training, and I suffered a few blows to the head, and then the bar closed down, so it was like one year you kind of had it all figured out. And then going into university as a young man, I had nothing. I could barely really walk I my family identity was gone. We're in the midst of a economic crash, a depression, and then I kind of developed my own sort of depression, but I, at the time, I didn't know it was depression. It's only Lacher that, when I spoke about it to professional that I kind of, we kind of spoke through and just said, Yeah, that's what it was. So I kind of, I wouldn't say, lied to my parents, but I told my mom, who's listening? Hi, Mom, I love you that I got a job in France, and I'd gotten an English certificate, and I didn't want to do University. I wanted to take a year out because I just couldn't handle it. Um, so, you know, I thought solving my problems would, you know, going away would solve my problems. So I there was no job in France. In fact, I wasn't going to France. I booked a one way ticket to Reunion Island, which is an island often called to the Madagascar in the Indian Ocean.   Michael Hingson ** 09:22 So why there? Why there? Because my friend   Peter William Murphy ** 09:26 was there, and he was there getting University credits for his degree. And, you know, back then, I wasn't a very good listener. I was a bit silly. I'm sure he told me all the details, but I just, I just heard son see maybe a job, and it's not and it's not Ireland, you know, it's not gray, it's not depressed. People aren't on social welfare. Let's, let's go. So I booked a one way ticket with what remained in my savings. And blew over there. And Michael, I'm going to be honest with you, when I landed at the airport in fentanyl, and I was hit with the hot Island air, and I could see it the volcano and, you know, the blue ocean surrounding me, I immediately regretted my decision. I want to go home, but I couldn't, because I had no money to buy a return ticket. So then the kind of Island Adventure kind of started, and yeah, I was stuck there for two years trying to get home.   Michael Hingson ** 10:34 Did you ever kind of make peace with all that and decide that maybe it wasn't such a bad place?   Peter William Murphy ** 10:40 Yeah, I, I, I kind of, because I'm a storyteller. I love writing, so I'm good at, kind of, you know, I wouldn't say I think all writers are good at, you know, giving dramatic effect. You know, maybe there, there's instead of one shark, there's five sharks. Instead of a storm, it's a cyclone. But when I would tell people about it, I would say it was difficult, but looking back at it now, it was probably the best thing I ever did, just taking that leap and going for it.   Michael Hingson ** 11:19 Did you ever finish in going to university? Or did you ever   Peter William Murphy ** 11:23 No, I just kept going. Kept going, kept going. I I got a job teaching English at a course. A lady by the name of Daniela from Angola gave me my first ever job, and you know, we hit it off. And this is back in 2011 or 12. I After about six or seven months working with her, so all the kids love me, the students love me. I learned a lot about her kind of holistic approach to education and teaching, and we were speaking in her kitchen one day, and she says, okay, when all this is over, what are you going to do? And I said, Well, I'm going to try and open up my own school. And she seemed surprised, but yeah, over 1310, or 11 years later, I'm not sure that's exactly what I'm trying to do now, is open up my own school.   Michael Hingson ** 12:21 Tell   Peter William Murphy ** 12:22 me about the school. Well, my wife, well, I'll go back a little bit. When I finally built up enough money to fly home, I got a job working with a man from America, actually teaching students in Cork. And I said I wasn't ready to go back to university just yet. I'd been in university for three years before I left, and it just something wasn't clicking with me. I'm an intelligent enough person, but in university just something, it just wasn't clicking. So I've decided to, you know, go to Turkey, simply because it was, you know, the closest. It wasn't like France, which is familiar, and it wasn't like, you know, far away, like China or somewhere like that. So I went there and got a job. But within six months, I think I landed a very, very good job at the top private school there, and they knew that I didn't have a degree. They just knew that I had selfless certificates and TEFL and other English certificates. But they have about 60 campuses in Turkey, and they gave me, and one of them is a university in Istanbul. So I was given a lot of education. By then, I was kind of a teacher for 15th. I observed, if I was doing a lesson, I'd be observed lots of seminars, getting more certificates, learning more and more. And you know that as time went on, I just kind of became Mr. Murphy, you know what I mean? I became a teacher, kind of, I proved myself, and just my students started getting good results. The parents were very fond of me. My colleagues were fond of me, my boss, my principal was fond of me. So I went from kind of not really having any identity, not knowing what I was doing, to kind of having it. So I stayed working in this big school for eight years, and to get back to kind of your question on the degree and the school i i was chosen by them to give a talk in Istanbul to all my peers on online methodology and how I help kids. Do you know? With gamifications, using the right websites for them, things like this, I slowly became very adept at, and they asked me to do it the second year. And then I got offered by Pierce in Turkey, which is an educational publishing company, and to do seminars on their behalf. And then this is, it was the first time since I left Ireland. This was in 2002 or three where I began to have imposter syndrome, where I was like, Okay, I know I'm good, but am I better than the people who I'm, who I'm speaking to, you know, and I raised this with the person who gave me the opportunity, and he said, Everyone feels, feels this way, you know. But I couldn't shake it, so I decided to in 2023 to step back from teaching, and I told my principal that I'm going to take some time away from it, and I became a writer on medium, and my writing on medium then took off. I started making a lot of money, and I found myself in this little hole where everything I was I was trying, was working for me, but it still didn't feel like something that I could 100% stick with well, which is why I started writing the book, and then it's why my wife and I decided to open up our own course, which will be a methodology, kind of created by the two of us, a curriculum, curriculum created by the two of us, which will have third party eyes who will sign off on it, and it's called Peak English, and we'll take it from there. So that's kind of my long answer to your very simple question.   Michael Hingson ** 17:05 Sorry, Kay, that's fine. Going back to when you went to Reunion Island. Do you think there was something deeper than just escaping from Ireland and the life you had, or you think it was just that simple?   Peter William Murphy ** 17:24 Um, yeah, it's strange, because I have a great relationship. My brother, my father and my mother were all very close. But I, I think, I think I became afraid of life, you know, because, you know, my father's my hero, of course, and he's a well respected man in the community. He He was awarded, I can't remember the name of the award, but basically, best host of the Year, Best host in Ireland last year by the hospitality board in the country. And when I saw what the economic crash did to him, it didn't break him, but when I saw that what it did to him, I was like, my god, if life can do that to my dad, take away his bar, you know, make him sad, or whatever it's like, what's it going to do to someone like me, you know, so I became very afraid of life, and I suppose I just wanted to go somewhere that felt other worldly, and that just felt so different, you know, that just so different, Yeah,   Michael Hingson ** 18:38 well, and, and now you say that you really feel that it was the best decision that you could make.   Peter William Murphy ** 18:48 Yeah, I wouldn't change it for the world. I mean, I've got some great stories. Yeah, halfway through a book about it now. So hopefully in the next year, that book will hopefully get published, and if not, I'll put it out there myself.   Michael Hingson ** 19:06 So when the pandemic hit, how did that affect or deal with your teaching and so on? Because you were teaching all that time since you you stepped back from that in 2023 so you must have had to deal with a lot of stuff with the pandemic, I would think,   Peter William Murphy ** 19:25 yeah, I know a lot of people suffered during the pandemic, but if I'm going to speak, it was difficult for everyone, but if I'm going to just for me in my apartment in Turkey, it was a good pandemic for me, you know, I took the opportunity to learn the guitar, get better at my job, did a lot of study, got more certificates, and also. Uh, I was familiar with Zoom before the big zoom thing happened. So I kind of knew before our first online lesson. You know, I spent about maybe three weeks because we went into lockdown in Turkey, I think March 2020, I believe we were a bit Lacher than most, but we, we stopped school in February, I think, and there was about a two or three week time where they were trying to figure it out. And, you know, you you know, everyone's going to go. If America and England are go and China are locked down. We're going to be locked down too. So I started doing tutorials on Zoom Near Pod, other online teaching websites, and started learning about them. So when the first lesson started on Zoom, I was really good at it, and all the students loved it. I wasn't the only teacher who did that. Lots of my colleagues I did that. But, you know, the pandemic was definitely a time where a lot of us who were lucky enough not to get ill were able to, you know, put more strings to our boat, right?   Michael Hingson ** 21:24 What do you think about all the discussions and all the arguments and all the conversations that go on now about online teaching as opposed to doing it live, and where, where all of it fits in. Can people really do it, you know, kind of what are your thoughts   Peter William Murphy ** 21:47 for children? I do not recommend this as the primary source of their education. I believe that socializing is very important for them, even having a teacher. You know, one of the biggest things you can do as a teacher with your classroom management is where you stand in the classroom. You know, being able to observe the students, then knowing that you're there as a present all the materials that you would have in the classroom. These are all things that actually, they need something small, but they do help kids that kind of five minute break every 14 minutes where they can run outside, keep a ball around and talk to each other. That's really important, yeah. But if you're talking about maybe between the 18 and up age group, I think it depends on the person. I've had students who who are prepared for IELTS, and they have needed a top score, and only have three months, and we've been face to face, working, helping them with their writing, doing everything, and it just doesn't work. There's something about the school environment where it just doesn't rub off on them. But then the minute you get them online and you start introducing games, you gamify it, just do lots of different things with them, for some reason they feel more comfortable. It could be an anxiety thing could be where they just feel more relaxed. At home, everyone's different, but for children, from my experience, definitely face to face learning is the best. Zoom is okay in an emergency. I do not recommend hybrid learning whatsoever.   Michael Hingson ** 23:40 Yeah, it's a it's a challenge. I know, for me personally, I can do online and, or and, or I can do things in person, in terms of learning and so on. I'm used to doing a lot of things outside of the typical corporate or office environment. So I can do that, but I also value and appreciate the social interaction when you go into an office and you have an opportunity to to meet with people. The only thing I would would say is way too often, unfortunately, people socialize so much that they forget in a work environment, you're really there to work and really need to figure out how to focus more on getting the job done. But I think there are a lot of aspects to that as well, because it isn't necessarily that people are lazy, but by the same token, if they don't really recognize what the job is about and what they're doing and that they have to put the appropriate time into it, or figure out a way to put in the appropriate time, then that's, you know, an issue too.   Peter William Murphy ** 24:58 Yeah, I would, you percent people. Be With You.   Michael Hingson ** 25:01 I think that, yeah, it's interesting. I've had a few people on the podcast here where we've talked about time management. We've talked about how people work in Europe, as opposed to in the United States, and some of the statistics that show that, in reality, if people put in longer days, but don't spend as many days at work, like if you put in 410, hour days, as opposed to five, eight hour days or something like that, you tend to get more work done, which I think is very interesting.   Peter William Murphy ** 25:36 Yeah, I've noticed that too, since I started working at home more and more. That I had a discussion with my wife the other day, and I said, you know, I think I need to rent an office, you know, because whilst I do like having, you know, low overheads and not paying rent. There is something about getting up in the morning, putting on a nice shirt, black coffee, and walk to the office. And you know, have your work day. One thing that I'm noticing is working online, with writing and helping students, is I'll wake up at 5am and I'll shower and I'll I'll work from 6am until midnight, and I am looking at my looking at myself in the mirror the next day and saying, Joe, this is unsustainable, like we It's you can say to yourself, oh, sure, just, you know, make your own routine. But it's very hard to stick to a routine if you are, you know, writing articles, if you have meetings at various times throughout the day, if you're dealing with multiple time zones. So there's, there is something attractive of going back and renting an office, you know, having a base where work is work and home is home. Yeah,   Michael Hingson ** 27:10 and I, and I appreciate that. I, I personally am able to work at home and separate that out. But I do know what you're what you're saying. And not everyone can do that. I've just done that a lot in my life because I've worked for companies where I worked remotely anyway, so I'm used to that, but I also appreciate your discipline. I'm sorry   Peter William Murphy ** 27:35 you've got discipline. It's something I need to work   Michael Hingson ** 27:38 on. Well, I guess that's probably it, yeah, I guess that's that's probably it. And I have enough other things during the day that demand time. So for example, at five o'clock, that's the time to feed the guide dog, and he wants to eat. And if I don't do that, I'm going to hear about it. So what's your dog's name? His name is Alamo. Like the Alamo? Yeah. So, you know, the issue is that I do have some things to help keep me honest, but, yeah, I can be fairly well disciplined with it, and I can make that work, and I understand that a lot of people can't. The other thing for me being a public speaker is I'm not as great a fan of speaking virtually, speaking online, as I am speaking in person. And the reason is, and it took me a while to kind of figure out why I didn't really like it as much as as probably some people that I don't have nearly the same kind of connection with the audience to whom I'm speaking if I'm doing it online, and I don't get to hear their reactions to things that I say. And for me, having that audio interaction, those auditory signals are part of what tells me if I'm doing a good job or not. On the other hand, I've done this long enough that I can pretty well tell what's probably going to work and what's not. So I'm perfectly happy to do virtual presentations, but if I have a choice, I like to do it in person, right?   Peter William Murphy ** 29:09 Yeah, I agree with you there. There is something very cool about being up on stage, yeah, and talking to a lot of people, but my favorite part has to be afterwards, when you're having the teas and the coffees and you're talking to everybody in the lobby. I really do love that part.   Michael Hingson ** 29:29 Oh, yeah. Well, and I try to integrate some of that even into the talks that I give, so that I have audiences participating. And sometimes the participation may be that I ask them something to answer, and sometimes it's how I tell a story to draw them in. And I've had any number of people tell me we were just following you down the stairs in the World Trade Center as you were telling the story. You were just so. Vivid with what you were saying. We were right there with you. And that's the thing that I think is a lot harder to do in a virtual environment than it is in a in an environment where you're actually speaking to people.   Peter William Murphy ** 30:13 Yeah, that's I told you when we had a chat before I came on, that it's really great honor to speak to you. And you know, I really do love your story and the way that you tell it, and of course, about your guide dog that led you out. It's really like an amazing story   Michael Hingson ** 30:36 well, and you know, it's it, it's a team effort. Both of us had jobs to do, and it was a matter of me being the team leader and keeping the team on course and doing the things that we needed to do. But it did work out well, and I'm glad about that. So it's that's important, but tell me more about the school that you're trying to start as you're working toward it, what will it be? Well, we   Peter William Murphy ** 31:07 are deadline to open it up was in three weeks ago, we found three buildings. I can't go into the detail, but it's, let's just say that, you know, someone said one price in the advertisements, and then when we got face to face, there was a new price. There was a lot of that kind of carry on. So my wife and I had a discussion, and we said, let's put peak English online first and get a base in because we do plan to either maybe perhaps move to Ireland in the future. So it is going to have to be a business that can, you know, move anywhere. We are going to have to have a online base. We've started working with the school in Brazil, and we've got some clients in Saudi Arabia and Qatar. So it's a nice space to get online at the moment, as we head into September, when all the kids are back to school, and then we will start small. We on sub stack. I started a small GoFundMe to help me reach my goal before the deadline, and people were very, very supportive. They gained a lot of traction. And then I spoke with my subscribers, and I said I gave them the plan because I like to tell them to know what's going to happen if they're paid subscribers, because everything I make from my writing goes directly back into education. So everything I make from medium top back, everything it goes towards building the school. And we are now going to go into September on a good footing, but we're going to have to downsize our expectations and perhaps buy some or smaller but our methodology and our mission will remain the same, to make education affordable, to help students pass their IELTS exams, to give them an opportunity to go work in Canada, America, the UK, Ireland.   Michael Hingson ** 33:15 So yes, that's peak English. Well, there you go. Which is, which is pretty cool. Well, what does your wife work? Or does she just help you with the school? Or what does she do?   Peter William Murphy ** 33:26 My wife? What does she do? My wife is an artist. She's a gamer, she's a teacher and she's a website designer. She's everything. She's the Peter whisperer. She's definitely good at when I'm in a whirlwind writing or, you know, I'll do too many things at once. She's, she's like a tablet for ADHD. I think she just, she's good at, kind of directing me calm down. So she she knows everything. Michael, she's a teacher, English language teacher. Graduated from Palm college, university, and she worked in an ink, in a in a college, and she's just about to embark on her Master's. So one of us will get that degree.   Michael Hingson ** 34:18 Yeah, one way or another, you'll have one in the family. Yeah,   Peter William Murphy ** 34:22 exactly. Well, she has one, but she'll get a master's. Yeah,   Michael Hingson ** 34:26 you'll have a master's in the family. Do you have any children? No, no, no, we're children. No children yet? Well, that's another thing to look forward to in in the future, which is, which is,   Peter William Murphy ** 34:38 where we don't know what to do. We love turkey, but also we want them to have a, you know, a Turkish. We want them to, you know, have an appreciation for Turkey and for Ireland. So we're trying to figure out where would be the best place to to raise kids in the in. You know, current global environment. And you know, despite all the trouble that Ireland has in 2008 every time I go home, it's still solid ground. And you know, it's the older I get, the more I'm kind of, I think we will end up there eventually, but we'll see. Yeah, well,   Michael Hingson ** 35:28 it'll all work out in time. I suspect you strike me as individuals. Yeah, you strike me as a person that will, will make things work out. And you're, you're willing to step back and and do it in a methodical and in very positive way, which is, which is pretty cool. Well, tell me about some of your writing. What kind of what have you written?   Peter William Murphy ** 35:54 Well, I told you about the book. I'm halfway through. It's the working title is becoming useful. Then on medium, I started writing about mental health, and I got imposter syndrome again. Of course, there's nothing wrong with writing anecdotally about your experience, but sometimes on the internet, it's probably better not to talk about kind of medical kind of things, you know what I mean. So I said, well, what could I pivot to? And I started writing travel memoirs about my time on the island, and I ended up getting curated about 40 times by medium selected for curation is basically where they choose the staff choose your story, and they give it a boost into the algorithm, and basically it just gets sent all over the internet. So that happened 40 times. Then I wrote for your tango, which is a New York based website. And then after a year and a half on medium, I pivoted to sub stack, where I continued to do my writing. And about three months ago, sub stack began doing live streams, kind of like on YouTube or Instagram, they have these live streams on sub stack. So I didn't feel comfortable talking about my teaching on sub stack, because I felt like my my writing persona, not that it's controversial, had its own space in my life, so I kept it separate from my teaching, and I spoke with a friend, and we saw everyone on Sub stack was doing these live one hour streams. So we thought we would do a comedy show. So we started doing these 1015, minute comedy shows live on substack, and they became very popular. And a lot of you know big authors like Walter Reed, Robin wilding, who would be very popular on that website came on as guest, and it's kind of this new outlet where everything leads back to teaching, where I'm learning about video editing now and how to reach an audience, and then straight away, with peak English, I said, Okay, so that's that. Now I know more about how the internet works, so now open up a Tiktok and an Instagram and, you know, focus that into peak English. So our Instagram account now is growing. It's got close to 1000 followers, and our Tiktok is just open. So, yeah, going to use what I learned from sub stack to reach more students give more tips on how to pass exams on other social platforms.   Michael Hingson ** 39:12 Okay, and you've, you've created some fictional characters along the way, haven't you?   Peter William Murphy ** 39:20 Yeah, I have Peter and Freeman, who have a small little cult following on on substack, kind of based on a relationship I have with a friend of mine and my brother and I. My brother has done the Olympics. He's done the not as an athlete, but he's worked for Warner Brothers and other companies, doing the filming of it, and we're both very much in the film. We're working on a script, and we're trying to develop something at the moment together. Of course, our day jobs are our main focus, but it's very nice to have a similar interest with your brother, that you can just work. Worked on together, you know,   Michael Hingson ** 40:01 yeah, well, you know, back in the days of old radio, there was a ven Troy lacherist, Edgar Bergen, who had his creature, Charlie McCarthy. And it was interesting that a lot of times Charlie spoke for Edgar. Edgar would, would would communicate through Charlie, as opposed to just communicating himself, and it was a way that he felt comfortable doing, which was interesting.   Peter William Murphy ** 40:32 Yeah, that's interesting with Murphy's Law, which is my medium pending, after about a year and a half, I, you know, I said I can't keep writing about the island or this or that, or memoirs. I have to try grow as a writer. So I started trying different styles. I started writing a satire. I started writing a political satire or just pure comedy pieces. And lo and behold, I was okay at it, and they gained traction, and they were funny. And this is strange, so then Murphy's law went to kind of satire. And then I started writing about politics, say what's happening in the USA, the friction over there, some other world events. And I enjoyed it. The editors liked it, and it was published in some very good publications. And it was great. I found many voices, you know, but as time went on, and I love medium, and I love substack, it's, it's my passion, and it has helped me grow, not just as a writer, but as I mentioned earlier, helped me hone all the skills I use that become, you know, big enough on it into how I can create this business that my wife and I try to open up, and it has really helped. But you are always chasing the algorithm, you know, and I would rather have a product out there that helps people, you know, pass their exams, give them guidance with these as, you know, do volunteer work, things like that, that will actually help people. And people will remember it as peak English, as a brand that will help them, because Murphy's Law and the exile files online, I love them, and they are my babies, but they are very much passion projects that, like Reunion Island, have helped me figure out what I want to do. You know?   Michael Hingson ** 42:58 Yeah, well now you talk about Murphy's Law. And of course, we all know Murphy's Law is, if anything can go wrong at will. But there was a book written years ago that was called Murphy's Law and other reasons why things go wrong. And the first, I think I've heard of that, and the first thing in the book after Murphy's Law was o'toole's commentary on Murphy's Law, which was, Murphy was an optimist. I always thought was cute. I like that. Murphy was an optimist.   Peter William Murphy ** 43:30 Well, it's, you know, I think in life, like you said yourself, when, when that terrible day happens in the World Trade Center, it was like you could either lose your mind or you stay calm, you know. And no, I think, I think everybody, kind of you know, can learn from that, from learn from your book, that you just have to keep going moving forward. People react differently to different you know, setbacks like I mentioned, with the leg break and the bar closing another young man, it might, it might not have affected them at all. They would have said, It's okay. I just kept going. But it just so happened that it affected me that way. And you my brother, for example, he stuck it out. He stayed in Ireland, and he he did it so it's it really does depend on the person and how they how one can deal with what life throws at you. Some people think it was like it was the best thing I ever did, but looking back on it, like I wouldn't change it, but looking back on it, I would have liked to have done it, maybe in a calmer way.   Michael Hingson ** 44:56 The other the other side of that though, is that. So there are a lot of things that happen around us, and we don't have any control over the fact that they happen as such, but we absolutely have control over how we deal with what happened, and I think that's what so many people miss and don't, don't deal with and the reality is that we can always make choices based on what goes on around us, and we can do that and and that can be a positive thing, or it can be a negative thing, and that's a choice that we have To make.   Peter William Murphy ** 45:37 Yeah, you're dead, right? Yeah, I, when I first came to Turkey, I was only supposed to be here for three months, you know, but there was something intoxicating about the country. There just the smell, the food people and I about six months into my stay here, back in 2013, or 14, like I did, have that decision where I had to kind of look at myself saying, Am I staying here because I'm running away, or am I staying here because I feel this is where I can achieve what I want to achieve. And I stayed because I felt this was like the environment where I could kind of deal with myself and kind of deal with life, and, you know, just be who I wanted to be, not that I couldn't do that in Ireland, but just the 24 year old version of myself. That's what like he was thinking, you know? And I got to respect that,   Michael Hingson ** 46:46 sure. And the other part about it, though, is that you you at least ask yourself the question, and you really took the responsibility to try to make a decision and come up with an answer, which is what a lot of people avoid doing.   Peter William Murphy ** 47:01 I wrote out the pros and cons on a piece of paper. I still have that piece of paper under your bed, and went up to the top of the mountain. There's, there's a huge mountain next to the city here. I'd go up there every day, but I just sat down and I just stared at the piece of paper. And there was just something where I said, you know, I have to try and become something here, you know, because if I can become something, even if it's something small, like something, you know, as humble, as just being a language teacher or helping one person or two people, it doesn't matter if I can do that here, then it would have been worth it. Yeah, of course. If time goes on, you learn more, you become stronger, you become more educated, you become trained. And then if you just keep going, no matter how you know down the dumps you were in the past, if you just keep going, one day, you will wake up and you will know exactly who you are and what you're supposed to do, and that's kind of what Turkey and Reunion Island gave to me.   Michael Hingson ** 48:10 Do you think that as you were growing up and so on, that the system failed you?   Peter William Murphy ** 48:18 I do remember one time. And I have to preface this for saying that I hold nothing against this person, but I remember I went to the psychologist or counselor in, I won't name the university, and the university I went to and and I didn't know them at all, and I sat down and I told them I was struggling with mental health. And, you know, there was, I'm not saying anything now like but there was a lot of young men taking their own lives in Ireland around this time, a lot and women, and I wasn't like that at all, but I was feeling down, and I wanted to see what the university could do for me. And I remember just being turned away saying, Come back next Tuesday, you know, at 405 and I did find it very hard to kind of like communicate and get help in university through Washington, like I didn't need directions on how to get to the Lacher hall or anything like that. I knew all that, but there was something else going on that I needed help with, and there, it wasn't there at all. Since then, of course, in the last 1516, years, Ireland is, you know, I suggest mental health capital of the world. But when, when I was there, maybe, maybe I just caught them on a bad day.   Michael Hingson ** 49:58 Yeah, hard to say. But the. Other part about it is look at what you've done since then, and look how you talk about it today, which really illustrates a lot of resilience on your part. And I'm sure that that's something that had to develop over time, but you still did it, and you became a more resilient individual because of all of that.   Peter William Murphy ** 50:22 Yeah, I'd say I've got that for my mom and dad. They're very resilient. But also that resilience has changed from, you know, booking a one way ticket to reunion and, you know, just doing all that crazy stuff, then go ahead and stand ball bus rides around Turkey, not knowing where I'm going, not having money, not enough for rent, all this kind of stuff. But it's changed because I remember I got a job partnering with a recruitment company that's based in Amsterdam, and I remember just willy nilly booking the flight over to Amsterdam, and just kind of, I just gotten married, and I Michael. I was not resilient at all. I did not want to go, I did not want to travel, I wanted to be at home with my wife, you know what I mean? And so I definitely got softer in other ways. So your resilience does change. It becomes more kind of a mental toughness than, say, that kind of young book physical resilience that you had when you were younger. It completely switches.   Michael Hingson ** 51:32 Yeah, well, and I think resilience is, is really, to a large degree about the whole concept of, well, mental toughness, or maybe the ability to look at what you're doing and going through and being able to make a decision about how to proceed, I think that's really kind of more of it than anything else, right, right? And so resilience, I think, as oftentimes, it's a term that's overused, but the reality is, I think what resilience really is is your ability to keep things whoever you are, keep things in perspective, and be able to step back and ask the tough questions of yourself and listen to your inner self and get the answers that you need. Yes.   Peter William Murphy ** 52:25 If that makes sense. It does. It makes perfect sense. Just gotta keep going. Yeah, yeah, yeah.   Michael Hingson ** 52:35 You do have to keep going, and it's kind of important to do that, but you've had a lot of different things that you've done. You know, you've been, you're an author, by the way. Do you still make drinks anywhere?   Peter William Murphy ** 52:51 No, I just at home, right away home. Good for you. Yeah? Yeah, we it's a drinking God. Drinking is such a funny one. It's something that just, I don't know, dissolved from my life. When I aged 30, I didn't become a teetotaler or anything like that. Like I'll still have red wine and I'll be here with friends, but I rarely touch the stuff. And I think it's mostly due to the fact that I start work so early in the morning, you know, and I just cannot wake up with any sort of grogginess. I leave black coffee, you know, look at the news for 20 minutes, pet my cat, take a shower and then start, yeah.   Michael Hingson ** 53:42 Well, my wife and I used to have a drink on Friday night. I mean, we're capable. We were capable of going to restaurants and parties and occasionally have something. But I know since she passed in 2022 we were married 40 years. I part of honoring her is that I have a drink on Friday night. One drink. I don't because I've never nice. I've never really felt that I need to have alcohol or anything like that. I've never been a great fan of the taste, but I have a drink to honor her on Friday night. So that's kind of fun.   Peter William Murphy ** 54:21 Yeah, that's very nice. I mean, we it's my wife's birthday in two days, actually, so I'm very lucky. She's very she's like me in a way. I want to take her to a nice, fancy restaurant, or to do this and do that, but she just wants a chicken burger. And hello, yeah, so we just go out to our favorite restaurant. And you know, they're good burgers. They're pretty gourmet, but yeah, she's pretty down to earth with me. And yeah, we have a lot of fun together. And yeah. But I'm currently planning her birthday presents as as I'm speaking to you.   Michael Hingson ** 55:07 If you could go back and talk to a younger Peter, what would you what would you tell them? What would you want them to learn?   Peter William Murphy ** 55:15 Oh, I would tell him to go straight to a to talk to somebody, yeah, just to go straight to talk to somebody, that's the biggest thing. I had an interview where I was the host yesterday with a man who does Astro photography, and one of his, you know, other projects he does. He's a recovering alcoholic. Where he's he really talks about, you know, men talking to other men too, like, if your friend call, pick up, always speak. Tell people what's going on. Of course, don't nag people and to tell them every problem you have, but if you're down into dumps, you should talk to somebody. So anybody who's like young, you know, late, late teens coming up, should definitely talk to someone straight away, because I think a few simple sentences from a professional could have saved me a lot of let's call them headaches in the future, all   Michael Hingson ** 56:28 too often we the way we're taught. We just don't get encouraged to do that, do we?   Peter William Murphy ** 56:34 No, no. People listen. People are good. People will do what they can. But I think sometimes, I think the way it's framed maybe scares men. I think we're a lot better now, but maybe 1015, years ago, and even before that, trying to get a kid to, you know, talk to professional, nobody wants to be different in that way. You know, back then anyway and but it's so healthy. It's so good to have someone who can regurgitate back what you've just told them, but in a clear, calm fashion that you know makes sense. It does the world of good. It's, it's, it's better than medicine   Michael Hingson ** 57:27 for most. Puts a lot of things in perspective, doesn't it? It does, yeah, which, which makes a lot of sense. Well, yeah, I think this has been great. I've very much enjoyed having the opportunity to talk with you and and and hear a lot of great life lessons. I hope everyone who is out there listening to us appreciates all the things that you had to say as well. If anybody wants to reach out to you, how do they do that?   Peter William Murphy ** 57:57 Well, we're on Instagram as peak English. We're also on Tiktok as peak English,   Michael Hingson ** 58:04 peak as in P, E, A, K, that's right   Peter William Murphy ** 58:07 behind me here. So if anybody can see it's there's the spelling on my wallpaper.   Michael Hingson ** 58:14 And, yeah, a lot of people probably aren't watching videos, so that's why I asked you to spell   Peter William Murphy ** 58:19 it. Yeah? Well, actually, I'm blocking it, so I moved out of the way. There   Michael Hingson ** 58:23 you go. Well, I won't see it,   Peter William Murphy ** 58:27 yeah, so I Yeah. So that's the best way to get in contact with me. You can Google me. Peter William Murphy, medium writer, I pretty much on the top of the lid, if you're interested in writing, also the exile files. And we're also on YouTube with the exile files, so there's lots of stuff going on. This is an English speaking audience, so I'm assuming nobody's going to want lessons from me. So if you're interested in my writing, check out medium and sub stack. And if you know anybody of friends who needs English, tell them about peak English, and I will help you.   Michael Hingson ** 59:11 There you go. Well, I don't know, there may be people who aren't the greatest English speakers listening who, who might reach out. Well, I hope that they do, and I hope they appreciate all that you've offered today. I really appreciate you coming on and spending an hour with us. I hope that all it's an honor. Oh, it's been fun. And I would say to all of you out there, I'd love to hear what your thoughts are. Feel free to email me at Michael H i@accessibe.com that's m, I, C, H, A, E, L, H, I, at accessibe, A, C, C, E, S, S, i, b, e.com, love to hear from you. I'd love to hear your thoughts wherever you're listening. I hope that you'll give us a five star rating. We really appreciate your ratings and your reviews and Peter for you and for all of you, if you know anyone who ought to be a. Guest on the podcast. We're always looking for people to come on and tell their stories, so don't hesitate to provide introductions. We love it. We really appreciate you all doing that. And again, Peter, I just want to thank you for for coming on. This has been a lot of fun today.   1:00:14 Thank you so much. It's pleasure to speak with you.   **Michael Hingson ** 1:00:23 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

Comedy on a TuesdayFirst, a look at the events of the day.Then, The Fred Allen Show, originally broadcast October 7, 1945, 80 years ago, Auditions.  The program's guests are Edgar Bergen and Charlie McCarthy. Charlie quits Bergen, teams up with Fred, and both audition for a radio show.  The Allen's Alley Question: "How is the housing shortage affecting you?"Followed by The Adventures of Ozzie and Harriet, originally broadcast October 7, 1945, 80 years ago, The Prince's Gift.  Prince Ali McGaga sends the Nelsons a gift…one they can't believe!  One hump or two?Then, Hoosier Hot Shots, originally broadcast October 7, 1950, 75 years ago,  Higher Education.  "The Lowdown On Higher Education," a visit to The Little Red Schoolhouse in Rotten Apple, Tennessee. Followed by The Milton Berle Show, originally broadcast October 7, 1947, 78 years ago, A Salute to the Old West.   Milton tries to get in to see Darryl Zanuck. Finally, Claudia, originally broadcast October 7, 1947, 78 years ago, Introspection.  David has been whistling and fixing things: Kathryn Bard and Paul Crabtree star. Thanks to Laurel for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old-time radio shows 24 hours a day

2 hours and 50 minutes of old time radio fun!Jack Armstrong, the All-American Boy 1940-11-22 e1555 Luminous Dragon Eye RingChallenge Of The Yukon 1950-10-02 The Malacca Cane Kraft Music Hall 1947-10-02 Al Jolson Now Hosts Guest Edgar BergenDamon Runyon Theater 1949-01-09 Little Miss Marker Crime On The Waterfront 1949-02-24 (Mike Wallace)Suspense 1943-01-12 The Pit & The Pendulum with Henry Hull

Comedy on a FridayFirst, a look at the events of the day.Then, The Chase and Sanborn Hour, originally broadcast September 5, 1937, 88 years ago with guest Ida Lupino.  Edgar Bergen tells Charlie McCarthy about his new romance with Dorothy Lamour. Ida Lupino appears in, "Salute The Baroness." Charlie presents his own spy drama called, "Spies". W. C. Fields recalls his brother, who was shot and killed in Bolivia while W. C. ran a hotel. Followed by The Aldrich Family starring Ezra Stone and Jackie Kelk, originally broadcast September 5, 1940, 85 years ago, The Generous Gentleman.   Henry has seen a film called, "The Generous Gentleman," which has made a big impression on him.  Henry becomes a caddy.  Things don't go quite right. Then, The Great Gildersleeve starring Willard Waterman, originally broadcast September 5, 1951, 74 years ago, Leroy Buys a Car.   The first show of the season. It's finally time to teach Leroy how to drive. Finally, Fibber McGee and Molly, originally broadcast September 5, 1954, 71 years ago, Boast to Boast.   The McGees are back from a brief visit to Twin Rock Falls, but nobody wants to hear about it. Thanks to Laurel for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

(E347) Amanda Jones, Mason Dixon and Host Rob Byrd come to the studio to welcome Brynn Cummings, 2023 America's Got Talent Semi-Finalist. Brynn is a Ventriloquist, Mentalist and Singer and comes in to talk about her experiences on AGT, working in the television world, Ted Talks and her future plans. Dr. Max Masters calls in to talk about the first couple weeks in their new facility. Craig Alton makes a call to the show for Racin' Mason Dixon's Front Porch Stomp to tell us all about the famous Edgar Bergen. Edgar Bergen is another famous Ventriloquist and Comedian from yesteryear. Scott T calls in for a Road Report and to discuss the U Turn tragedy that happened in Florida. It's all here, right now and so much more on the Moondog Show.  Find More at: MoondogShow.com

Variety on a WednesdayFirst,  a look at this day in History.Then, The Chase and Sanborn Hour with host Don Ameche, originally broadcast August 13, 1939, 86 years ago with guest Joan Blondell.  Charlie McCarthy is planning a hiking trip.  Guest Joan Blondell and Don appear in a Hollywood comedy, "Stardust," by Cyril Kramer. "Vera Vague" lectures about travel to England. Charlie stages his own version of "Stardust," called, "Fishing Prohibited," or "No Casting Today."Followed by The Jackie Gleason - Les Tremayne Show, originally broadcast August 13, 1944, 81 years ago with guest Edgar Bergen. The first show of the series. Jackie recounts his youth in Brooklyn. A salute to the state of New York. Edgar (appearing without dummies) describes his plan to introduce a "bachelor girl" dummy in the fall (describing the as yet un-named Effie Clinker)Then, Matinee with Bob and Ray, originally broadcast August 13, 1949, 76 years ago. Jack Headstrong--All American American, The Lone Agent, Basil Jelly--Private Eye. Finally. Lum and Abner, originally broadcast August 13, 1942, 83 years ago, Custody of the Gold Mine. The boys discuss the baby's gold mine. Thanks to Richard G for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.stream

This week on the RTC Weekly Download: Inner Sanctum, Edgar Bergen, and Jimmy Durante   

In an episode inspired by a game review code we received, Andrew returns alongside Ben, who's been buying a single movie multiple times for SOME reason. Ben has given up on “Sucky Assassin's Creed” for now, but he sees promise in an “FRPG” game he's been playing recently. Andrew has been doing something incredibly constructive with his pent-up frustration from the consistent misrepresentation of autism by the Department of Health and Human Services; he's also been working on constructing a companion deck of cards for his ADHD book. Next, they think about their oddly numerous and influential puppetry-related experiences in their lifetimes. Finally, Ben talks about a game he has been playing called Once Upon a Puppet. *** 00:00:20 - The AZ digestive system, sending zines to members of congress, and taking action 00:04:27 - Stretch goals, Ben is proud of Andrew, training suggestion, and a diplomatic mission 00:08:37 - A cabal of billionaires, some ADHD cards, a tough question, and Faith Harper's help 00:10:44 - ANDREW WATCHED TENET, driving backwards really fast, and Andrew's thoughts 00:14:16 - Temporal pincer movement, letting it go, not a vampire, and likable characters 00:17:54 - Dissing Brooks Brothers, the evil scale, just buy a popcorn, and square televisions 00:22:29 - Three times the Brainstorm, Clair Obscure: Expedition 33, and colloquially known as   00:26:34 - Game segment teaser, a simple definition, and a Señor Wences' Parkay commercial https://www.youtube.com/watch?v=iLd8xPbc54I   00:30:12 - Fred Rogers' puppets, Morgan Fairchild, riding the bus, and a friend of Kevin Smith 00:33:10 - Jon Favreau, near and dear to Andrew's heart, and Disney acquires the Muppets  00:36:57 - David Jones wasn't a puppet, Farscape, and what would make this podcast better 00:38:52 - The Curious Creations of Christine McConnell, Edgar Bergen, and Charlie McCarthy  00:43:20 - Jeff Dunham, explicit Peter Jackson puppetry, Daedalus, and descriptive buzzwords Once Upon a Puppet trailer - https://youtu.be/Oso4ykJmyqw?si=fGEaXSTRpd-R5E7r 00:48:06 - Under the stage, Drev and Nieve, prop moving puzzles, and weaving new outfits    00:51:11 - Falling, a satisfying conclusion, and nonviolent crisis intervention online training 00:55:09 - Craft magazine marionettes, puppet fights, kabuki puppet theater, and the hands 00:58:48 - Stop-motion animation, puppets as costumes, and antenna getting all the laughs 01:01:28 - Congo, motion capture, terrible is cheap, Andrew's hygienic tip, and… s'alright *** Follow Andrew / Partly Robot Industries on… His website: https://partlyrobot.com/ On Instagram: https://instagram.com/partlyrobot On TikTok: https://www.tiktok.com/@partlyrobot On Substack: https://partlyrobot.substack.com/ On Bluesky: https://bsky.app/profile/partlyrobot.com On Ko-fi: https://ko-fi.com/partlyrobot And his TREE o' LINKS: http://linktr.ee/partlyrobot Follow Two Vague on… Our website: https://www.twovaguepodcast.com On Instagram: https://www.instagram.com/two_vague_podcast On YouTube: https://www.youtube.com/@twovaguepodcast On Substack: https://twovaguepodcast.substack.com/ On Bluesky: https://bsky.app/profile/twovaguepodcast.com For show appearance and other inquiries, contact us at: twovaguepodcast@gmail.com -AND-  …for all of your PRI and 2VP merch check out the Partly Robot Industries store at TEEPUBLIC! https://www.teepublic.com/user/partly-robot-industries *** References, Links, and Tags For more information about Once Upon a Puppet presented by Flatter Than Earth… https://www.flatterthanearth.com/   #Podbean #DIYPodcast #ApplePodcast #VideoGames #Trivia #Comedy #Talkshow #2VP #TwoVaguePodcast #PodernFamily #InterviewShow #GamersofThreads #Gamer #PartlyRobot #PartlyRobotIndustries #TeePublic #OnceUponAPuppet #FlatterThanEarth #DaedalicEntertainment 

Today we are once again pulling transcription discs off the shelves, and we have another "lost" Edgar Bergen and Charlie McCarthy Show AFRS disc from January 16th, 1944. The show includes the comedic banter between ventriloquist Edgar Bergen and his dummy Charlie McCarthy, a skit where Charlie blackmails his principal, and a performance by guest Carmen Miranda, who also participates in a comedic opera sketch. The episode concludes with additional musical numbers, which John notes were added to fill the time void created by the removal of original advertisements. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Variety and Drama on a FridayFirst a look at the events of the dayThen, The Chase and Sanborn Hour, originally broadcast July 11, 1937, 88 years ago with guest Gladys George.   Charlie McCarthy tells Edgar Bergen about his music lessons. Don Ameche and guest Gladys George appear in, "Personal Appearance." W. C. Fields announces that he's leaving on vacation. The verbal battle with Charlie McCarthy continues. Followed by The Mercury Theater on the Air starring Orson Welles, originally broadcast July 11, 1938, 87 years ago, Bram Stokers Dracula. A chilling radio adaptation of Bram Stoker's novel, featuring Welles as both Count Dracula and Dr. Seward and Martin Gabel as Dr Van Helsing. Finally, The Couple Next Door starring Peg Lynch and Alan Bunce, originally broadcat July 11, 1960, 65 years ago, Taxidermist Problems.Thanks to Adele for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

Keep Retro Radio going… buy us a coffee here! https://www.buymeacoffee.com/retroradioIf you like what you hear, consider giving this show a like! Liking these shows helps us to know what you like to hear more of.Take Retro Radio wherever you go! Subscribe today, and share it with your friends!———————As these shows have been in the public domain for quite some time, the audio quality of these episodes can vary. So don't adjust your dial… it's most likely the audio file itself :)Disclaimer: The content featured here originated from the “Golden Age of Radio” (1920-1962), and may contain racial, ethnic, and gender stereotypes that are incompatible with our values today. They were wrong then, as they are today. These representations do not reflect the views of Retro Radio and are presented here solely for historical, educational, and/or entertainment purposes. We denounce any form of discrimination and aim to foster a respectful and inclusive atmosphere, while still respecting the talent, entertainment value, and historical value these recordings may bring. Please approach this material with sensitivity, recognizing that they may reflect attitudes of its time. Your engagement with this content is appreciated, and we encourage thoughtful consideration and discussion.——————Vintage radio classic radioshow OTR old time radio Hollywood movie stars shows suspense detective comedy sci-fi science fiction variety music guest star

Edgar Bergen was also Charlie McCarthy but Charlie McCarthy was one of a kind. The cutest little obnoxious guy on the radio.  A big personality in a tiny package. Charlie McCarthy took radio by storm and Edgar Bergen rode his coattails to fame and fortune. Actually Bergen rode his own coat tails, but it was … Continue reading When Radio Ruled #129 – Charlie McCarthy and Guests 1939 part 2

Keep Retro Radio going… buy us a coffee here! https://www.buymeacoffee.com/retroradioIf you like what you hear, consider giving this show a like! Liking these shows helps us to know what you like to hear more of.Take Retro Radio wherever you go! Subscribe today, and share it with your friends!———————As these shows have been in the public domain for quite some time, the audio quality of these episodes can vary. So don't adjust your dial… it's most likely the audio file itself :)Disclaimer: The content featured here originated from the “Golden Age of Radio” (1920-1962), and may contain racial, ethnic, and gender stereotypes that are incompatible with our values today. They were wrong then, as they are today. These representations do not reflect the views of Retro Radio and are presented here solely for historical, educational, and/or entertainment purposes. We denounce any form of discrimination and aim to foster a respectful and inclusive atmosphere, while still respecting the talent, entertainment value, and historical value these recordings may bring. Please approach this material with sensitivity, recognizing that they may reflect attitudes of its time. Your engagement with this content is appreciated, and we encourage thoughtful consideration and discussion.——————Vintage radio classic radioshow OTR old time radio Hollywood movie stars shows suspense detective comedy sci-fi science fiction variety music guest star

Keep Retro Radio going… buy us a coffee here! https://www.buymeacoffee.com/retroradioIf you like what you hear, consider giving this show a like! Liking these shows helps us to know what you like to hear more of.Take Retro Radio wherever you go! Subscribe today, and share it with your friends!———————As these shows have been in the public domain for quite some time, the audio quality of these episodes can vary. So don't adjust your dial… it's most likely the audio file itself :)Disclaimer: The content featured here originated from the “Golden Age of Radio” (1920-1962), and may contain racial, ethnic, and gender stereotypes that are incompatible with our values today. They were wrong then, as they are today. These representations do not reflect the views of Retro Radio and are presented here solely for historical, educational, and/or entertainment purposes. We denounce any form of discrimination and aim to foster a respectful and inclusive atmosphere, while still respecting the talent, entertainment value, and historical value these recordings may bring. Please approach this material with sensitivity, recognizing that they may reflect attitudes of its time. Your engagement with this content is appreciated, and we encourage thoughtful consideration and discussion.——————Vintage radio classic radioshow OTR old time radio Hollywood movie stars shows suspense detective comedy sci-fi science fiction variety music guest star

Charlie McCarthy is really Edgar Bergen. Or the other way around. It was a ventriloquist act. On the radio. Go figure. But you can't argue with success and the Charlie McCarthy show was more than a success, it was a cultural phenomenon. The Kids loved Charlie McCarthy, so did the parents and Grandparents. The biggest … Continue reading When Radio Ruled episode 125 – Charlie McCarthy and Guests 1939 part 1

Keep Retro Radio going… buy us a coffee here! https://www.buymeacoffee.com/retroradioIf you like what you hear, consider giving this show a like! Liking these shows helps us to know what you like to hear more of.Take Retro Radio wherever you go! Subscribe today, and share it with your friends!———————As these shows have been in the public domain for quite some time, the audio quality of these episodes can vary. So don't adjust your dial… it's most likely the audio file itself :)Disclaimer: The content featured here originated from the “Golden Age of Radio” (1920-1962), and may contain racial, ethnic, and gender stereotypes that are incompatible with our values today. They were wrong then, as they are today. These representations do not reflect the views of Retro Radio and are presented here solely for historical, educational, and/or entertainment purposes. We denounce any form of discrimination and aim to foster a respectful and inclusive atmosphere, while still respecting the talent, entertainment value, and historical value these recordings may bring. Please approach this material with sensitivity, recognizing that they may reflect attitudes of its time. Your engagement with this content is appreciated, and we encourage thoughtful consideration and discussion.——————Vintage radio classic radioshow OTR old time radio Hollywood movie stars shows suspense detective comedy sci-fi science fiction variety music guest star

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It doesn't matter if they can see their lips moving! We discuss real-life ventriloquists on the big screen, which include Edgar Bergen, Paul Winchell and... Uh... Yea, basically those two. Charlie McCarthy, Knucklehead Smiff and Jerry Mahoney are all discussed at length. Did you know Charlie had multiple movies where he's treated like a real person who is very horny? Tune in and learn! Send us stuff c/o Justin Decloux, Unit 1010, 3230 Yonge St, Toronto, ON, M4N 3P6, Canada Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as Will's MICHAEL AND US (@michael-and-us).

Drama and Variety on a TuesdayFirst a look at the events of the dayThen Lux Radio Theater, originally broadcast March 25, 1940, 85 years ago, Remember the Night starring Fred MacMurray and Barbara Stanwyck.   An adaptation of the 1940 movie about a prosecutor who winds up taking a beautiful thief with him on a Christmas visit to his mother.Followed by the Royal Gelatin Hour starring Rudy Vallee, originally broadcast March 25, 1937, 88 years ago.  The show features three songs from, "Shall We Dance?" The first is, "Beginner's Luck," sung by Rudy. Rudy also sings, "Never In A Million Years," "Little Old Lady," "I Can't Lose That Longing For You" and "Let's Call The Whole Thing Off." Edgar Bergen tells Charlie the story of "Robinson Crusoe." Tyrone Power and Muriel Kirkland appear in, "Shadow Play" by Noel Coward. Florence Desmond impersonates Katharine Hepburn (while she's singing!), Marlene Dietrich and the ficticious Gladys Potts (the first woman pilot to fly over the North Pole with her baby). Rudy interviews Tony Sarg, a puppeteer who is credited with inventing the Macy's Thanksgiving Day Parade giant balloons. Finally, Claudia, originally broadcast March 25, 1949, 76 years ago, The last program of the series. A walk in the rain to the top of the hill. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

On this, the 69th anniversary of the passing of a great radio humorist, we present the NBC program Biography in Sound,  This episode was broadcast two days prior to what would have been his 62nd birthday, May 29, 1956.  Ironically that was just 10 days following my birth.  And yes, I chose this picture because of another irony.  Until I graduated college, I played the tuba.  Here's a partial list of those apart of Fred that you will hear in this 55 minute program.Kenny Delmar, Tallulah Bankhead, Doc Rockwell, Jack Benny, Herman Wouk, Jim Harkins, Francis Spellman, Donald Voorhees, Peter Donald, Bill Mullen, James Mason, Jimmy Durante, Goodman Ace, Henry Tugan, Joe DeGray, Mike Jakes, Minerva Pious, Jack Haley, Ed Herlihy, Edgar Bergen, Herb Shriner, Benny Droan, Clifton Webb, George Jessel, John Royal, Roger White, Pat Weaver, Harry Von Zell, John Crosby, Stanley Trablinsky, Morton Green, George Foster, Su Chan, Max Asgur, Alan Reed, and Parker Fennelly.  Each paying tribute with remembrances of Fred Allen.And yes, writer Earl Hamner wrote much of the continuity of this program.  The same Earl Hamner who created The Waltons and Falcon Crest.  One more amazing talent who influenced so many more.  May he rest in peace and know that even today, he is remembered for all the laughs he gave all of us.  

Edgar Bergen & Charlie McCarthy 40-02-18 146 Guest - Clark Gable and Vera Vague 

We are kicking off the month of March featuring one of our favorite vintage Hollywood actors on radio, Jimmy Stewart. Stewart was prolific on radio, with numerous appearances on almost every major A-list program. We are beginning with Jimmy Stewart as guest on the popular comedy, "The Charlie McCarthy Show." The episode features Edgar Bergen, his ventriloquist dummy Charlie McCarthy, and Ray Noble, Anita Gordon, and Mortimer Snerd. This episode features Charlie's mock resignation from radio, a political campaign where Charlie runs for president of his club, and Stewart serves as Charlie's campaign manager. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

A Funny TuesdayFirst a look at this day in History.Then The Ford Theater, originally broadcast March 4, 1949, 76 years ago, The Horn Blows at Midnight starring Jack Benny.  The beautiful and funny story of a junior-grade angel with a brief but important task on Earth. Followed by The New Edgar Bergen Hour with Charlie McCarthy, originally broadcast March 4, 1956, 69 years ago, with guest Richard Armour.  Charlie helps Carol Richards with her taxes and both wind up fugitives from the FBI, Effie Clinker discusses health, the guest is Dr. Richard Armour (a writer of humor), and Professor Kirkwood explains his housebreaking kit.Finally Superman, originally broadcast March 4, 1942, 83 years ago, A Mystery for Superman.   Clark Kent disobeys Perry White's order. More instructions from Perry are received. Lois walks into Clark Kent's office, just after speaking with him on the telephone!  Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

This week on the RTC Weekly Download: "The Phil Harris - Alice Faye Show", Edgar Bergen, and "Dr. Kildare"   

A Funny SundayFirst a look at this day in History.Then George Burns and Gracie Allen, originally broadcast March 2, 1943, 82 years ago, Playing Carnegie Hall Part 1. The broadcast originates from New York City. The Burns' check into a swanky hotel, with Clarence the Duck. Guest Madeleine Carroll has the room next door. Gracie rehearses her "Concerto For One Finger" for her appearance at Carnegie Hall.Followed by Amos ‘n' Andy, originally broadcast March 2, 1945, 80 years ago, Andy Inflates His Tax Return To Impress A Girl.   Andy is going to have to pay income tax on the $250 he made in 1944.Then Phil Harris and Alice Faye, originally broadcast March 2, 1952, 73 years ago, Frankie isn't going to Vegas with Phil.  Phil and Alice are going to Las Vegas, and Remley is not going along with them. Followed by The Charlie McCarthy Show starring Edgar Bergen, originally broadcast March 2, 1947, 78 years ago with Nelson Eddy and Chester Morris.  Charlie has been caught telling too many lies. Mortimer Snerd is in the shoe shining business. Charlie has driven Bergen's car into a fire hydrant. Nelson files the insurance claim for Charlie, with Chester Morris, the insurance adjuster. Finally Superman, originally broadcast March 2, 1942, 83 years ago, A Mystery for Superman.   Lois Lane telephones and says she needs $20,000 immediately. Later, Perry White calls Clark Kent and asks him to send over another $20,000!Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

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

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show.   Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are.   You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow   A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   
The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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Take a wooden puppet, a guy who can't quite keep his lips from moving, and add impeccable comic timing and you just might come up with Edgar Bergen, often considered the premiere ventriloquist of the 20th century. With his "dummies" Charlie McCarthy and Mortimer Snerd, Bergen was a hit in vaudeville, then on radio -- quite a feat for someone whose act generally requires the audience to see the artist. But Bergen's rapid verbal repartee with his puppets -- especially Charlie McCarthy -- captivated audiences and led to movie roles and tv appearances down the line. Bergen earned not one, not two, but three stars on the Hollywood Walk of Fame for his contributions to movies, radio, and television. As always find extra clips below and thanks for sharing our shows. Want more Edgar Bergen? Here's a nice long sample of Edgar and Charlie in action, from their 1950 Thanksgiving special. https://youtu.be/oJVrK408nyQ?si=-nhi_PPPvj9JfsBZ Bergen's other comic foil was Mortimer Snerd -- as slow-witted as Charlie McCarthy is quick-witted. It led to fun, as in this bit with Bing Crosby.https://youtu.be/_8YBiWU5Ok4?si=o-Dum7JIiABl9hVk In 1939 Bergen and Charlie starred in You Can't Cheat on Honest Man with WC Fields and Charlie wasted no time in annoying his co-star. https://fb.watch/xQv-XqQbRm/ Bergen and McCarthy made their final screen appearance in 1978's The Muppet Movie -- a fitting farewell to a master puppeteer. https://youtu.be/5EDVCevIB-Q?si=sh9Nhmus0fSxWQ-P

In this episode I explore an article in History Magazine written by Brad Myers about when ventriloquist Edgar Bergen performed with Charlie McCarthy in his hometown of Decatur, Michigan in 1952. The performance was recorded before a live audience by CBS Radio, and included performances by some local people in the community. For more information on the Historical Society of Michigan and to subscribe to the magazine Michigan History, visit: https://www.hsmichigan.orgFor more information on Michael Delaware, visit:https://michaeldelaware.comRecording of the Edgar Bergen show in 1952 was obtained from Internet Archive and is used under fair use .

Today's episode features a new transfer we did of a missing September 2, 1945 episode of The Charlie McCarthy Show, starring ventriloquist Edgar Bergen and his dummy Charlie McCarthy. The episode includes guest appearances by Carmen Miranda and Keenan Wynn, and features a humorous skit about the then-novelty of television. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Charlie McCarthy  was created by Edgar Bergen based on a wise cracking newsboy named Charlie from the neighborhood.  High Schooler Edgar Bergen sketched the design for Charlie. More than a little obsessed,  Bergen decided to bring his Charlie to life. Bergen built Charlie's movable body but paid woodworker Theodore Mack $35 to carve Charlie's head. … Continue reading When Radio Ruled #113 – Bergen, McCarthy, and Snerd 1939

Support Breaking Walls at https://www.patreon.com/thewallbreakers It's a cold, rainy Sunday evening on January 8th, 1956. We're heading south on Riverside Drive in Manhattan's Upper West Side. On the air is NBC's Monitor with a New World Today discussion about the differences in American life in the past twenty years. The United States is changing. Psychiatry is on the rise as the cold war rages onward. The internal Red Scare has subsided, but Secretary of State John Foster Dulles said this week that the U.S. won't stop testing nuclear weapons, despite pleas from Pope Pius XII on Christmas Day. While nuclear fears are understandable, the U.S. government thinks the USSR's presence in emerging nations means they can't be trusted to follow suit and stop their own testing. In Ecuador today, five evangelical American Christian missionaries were speared to death by members of the Huaorani people after attempting to introduce Christianity to them. Meanwhile, Algeria is in the midst of a war for Independence between France and the Algerian National Liberation Front. It began in November of 1954 and by now it's considered the world's only active war of note. It's a complex conflict characterized by guerrilla warfare and the use of torture. Gunsmoke is far and away radio's highest-rated dramatic show. It airs on CBS Sunday evenings with a Saturday afternoon repeat broadcast. The combined rating of 6.5 means somewhere between six and seven million people are still tuning in from their homes. When factoring in car and transistor radios, nearly ten million people are listening. CBS remains the home for the top-rated prime-time shows. Our Miss Brooks is pulling a rating of 4.3, and both Edgar Bergen and Two For The Money are pulling a 3.9. Meanwhile, on daytime radio, CBS has the twelve highest-rated programs. So where am I heading? I'm a roving CBS producer. I've worked on both coasts, including with Norman MacDonell on Gunsmoke in Hollywood, but last year programming directors Guy Della Choppa and Howard Barnes sent me back home to New York. I'm heading to the City Center at 131 West 55th street. I'm to cover a preview of Shakespeare's King Lear starring Orson Welles. It features Viveca Lindfors and Geraldine Fitzgerald and begins at 8:30PM. I helped with Welles' Omnibus production of Lear on CBS-TV in October 1953. I had drinks with him last week. He kept raving about two things: Carl Perkins' new hit, “Blue Suede Shoes,” and friend Jack Johnstone's production of Yours Truly, Johnny Dollar. Johnstone directed Welles' Almanac series from the west coast during World War II. I phoned Jack yesterday. He had this to say. Jack was sure to mention that this week's upcoming Dollar story would take place in New York. If all goes well, Orson might be interested in returning to network radio in some capacity. Welles is once again a father. His daughter Beatrice was born last November 13th. He's been looking for more stable projects and wants to get dinner after the performance. Lear doesn't officially open until Thursday the 12th. The City Center was built as The Mecca Temple and opened in 1923. It's part of a small section of galleries, apartments, and performing spaces, but development is possibly encroaching. Last April, The Mayor's Slum Clearance Committee, chaired by Robert Moses, was approved to designate the area just west in Lincoln Square for urban renewal. The residents, many of them Hispanic, have been protesting the decision, but Robert Moses usually gets his way.

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Support Breaking Walls at https://www.patreon.com/thewallbreakers At 4PM eastern time on Christmas Day, CBS broadcast the third annual Elgin watches Christmas party for the men and women in the Armed Forces, guest-starring Jack Benny, George Burns, Gracie Allen, Bob Hope, Bing Crosby, Ginny Simms, and many others. It was hosted by Don Ameche and the announcer was Ken Carpenter. Don Ameche had been an integral part of The Chase and Sanborn Hour, earning a reputation from Edgar Bergen as one of the best comedic ad-libbers in the business. Elgin Watches was first incorporated in August 1864 as the National Watch Company. The founders eventually based their operations in the growing city of Elgin, Illinois and changed the company name. By the turn of the 20th century, it was one of the largest watch manufacturers in the world. During World War II all civilian manufacturing was halted and the company moved into the defense industry, manufacturing military watches, chronometers, fuzes for artillery shells, aircraft instruments, and cannon bearings. Their agency of record J. Walter Thompson confined radio sponsorship to their annual Thanksgiving and Christmas specials, which began in 1942.

A Variety TuesdayFirst a look at this day in History.Then The Chase and Sanborn Hour with host Rudy Vallee, originally broadcast December 10, 1939, 85 years ago with guest Lansing Hatfield.  Lansing Hatfield sings, "Song Of The Flame." Edgar Bergen is out sick! Charlie McCarthy reports on his condition from his bedside at St. Vincent's Hospital, Los Angeles. Guest Joan Blondell and Fred MacKaye appear in, "After The Party's Gone," by Winston Miller and Michael Jackson. Vera Vague complains that Chivalry is dead. Bergen does two routines from the hospital. Charlie's Christmas shopping service is broke. This is Rudy's final appearance on the show as host. Followed by The Mel Blanc Show, originally broadcast December 10, 1946, 78 years ago, Christmas Present.  Mel tries to raise some money to buy Betty a Christmas present. Then Claudia, originally broadcast December 10, 1948, 76 years ago, Claudia Worries.   It's freezing out today. Followed by Jonathan Thomas and His Christmas On The Moon, originally broadcast December 10, 1938, 86 years ago, Getting Rubies at the Rainbow Bridge.  Whiskery Bill and Sir Algy come to "The Rainbow Bridge," but "The Keeper of the Rainbow" declines to produce the rubies needed to grow the red rose.Finally Superman, originally broadcast December 10, 1941, 83 years ago, The Pan American highway.   Jimmy Olsen uses a police whistle to summon aid from Superman. Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

Happy Thanksgiving! We are celebrating with a program that is a little lighter than last year's offering. It's a Thanksgiving program from Edgar Bergen, 1945. Edgar Bergen was radio's ventriloquist, and his lead act was the puppet Charlie McCarthy. This was before ventriloquist dummies became the subject of horror movies. The guest in this show is 7-year-old Margaret O'Brien, and they do a very silly retelling of The Courtship of Miles Standish. Gather your kids and your parents. This one's a great one for just about everyone. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Support Breaking Walls at https://www.patreon.com/thewallbreakers Although Bud Abbott and Lou Costello are remembered for their movies, they got their start toward national fame in radio. They'd met in 1929, when Costello was booked with a vaudeville act into a neighborhood theater. Abbott worked in the box office and soon found himself playing Costello's straight man. In 1938 they appeared at Loew's in New York, where they were seen by Ted Collins, architect of Kate Smith's career. Their slaphappy style was perfect for radio, and their rise to frontline stardom was rapid. For two seasons, beginning Feb. 3rd, 1938, they were regulars on The Kate Smith Hour, while also appearing on Edgar Bergen's Chase and Sanborn show. Signed by Universal in 1939, the duo pulled the studio out of financial trouble with a string of low-budget hits. NBC gave them a summer replacement show for Fred Allen in 1940. Then in the fall of 1942 they went on the air full-time for Camel Cigarettes. They were an immediate top-ten ratings hit, and became a Thursday night comedy staple. On Thanksgiving night in 1944 their 10PM NBC rating was 20.5, good for eighth overall on radio that week. More than sixteen million people tuned in.

Word is Orson timed the Martian invasion to happen when people tuned away from Charlie McCarthy & Edgar Bergen's #1 radio show. This recreates that using the shows from October 30, 1938.

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Support Breaking Walls at https://www.patreon.com/thewallbreakers Well, we're back where we started, but we're not the same. I mentioned at the beginning of this episode that when you run on the treadmill to oblivion, you don't always go where you want, but you get in shape doing it. When I began Breaking Walls ten years ago I envisioned it as a sit-down interview show. Over time it slowly morphed into on the scene reporting, and eventually a history of U.S. Network Radio Broadcasting. When I made this programming switch permanent in February of 2018 I didn't know how long I'd be able to keep it up. In many ways these documentaries have been a means of teaching myself the business of broadcasting in order to use the past to inform the present. They've also been about teaching myself how to be a good writer, sound designer, and narrator. My life has undergone many changes in the past six and a half years. I now have paid work in the world of audio thanks to Breaking Walls. This paid work is encroaching upon my time and honestly, it's paid. It needs to be a priority. This is a long-winded way of saying that I need to take a break from the treadmill. So, for the next three months Breaking Walls is undergoing a change. Don't worry! I'm still going to put out new content. You'll still see an episode 156 of Breaking Walls, which, incidentally, will feature shows from Halloween 1944. Rather than contain my narration and sound design as one giant documentary, they'll be standalone radio shows with the usual information written into the description of each track. I'm also going to continue to post the Breaking Walls archives to Youtube, and post additional content on Patreon.com/TheWallBreakers. On Patreon the next episode will drop early as one giant playlist of shows. I've been on the fence about how and when to pause. Eighty months is a long time to run on any treadmill without a break. Given that this was the tenth anniversary of the launch of Breaking Walls, I feel like it's a good time to give myself that break. You never know, when you close one door — even temporarily like this is — what good things can come in through a window or a side. My plan is to come back to documentary-style episodes of Breaking Walls on January 1st, 2025. (Half Pause) The reading material used in today's episode was: • On The Air — By John Dunning • Gleason's Second Honeymoon — By Pete Hammil • The Great One: The Life and Legend of Jackie Gleason — By William A. Henry • Network Radio Ratings — By Jim Ramsburg As well as articles and features from • Broadcasting Magazine • Ephemeral New York • The Library of Congress • Naval History and Heritage Command • The New York Times • The Sydney Morning Herald (Half Pause) On the interview front: • Don Ameche spoke with Chuck Schaden. Hear this full chat at Speakingofradio.com. • Mel Allen and Edgar Bergen spoke to Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio. Hear these interviews at Goldenage-WTIC.org • Norman Corwin spoke with John Dunning for his 71KNUS program from Denver. • Bob Hope spoke with Dick Cavett • Gene Tierney spoke with Mike Douglas • Fred Allen spoke with Tex McCrary and Jinx Falkenburg (Half Pause) I'd like to thank Chuck Schaden, the late Dick Bertel, the late John Dunning, and SPERDVAC. Without these people and their tremendous work I'd never have been able to do a single episode of Breaking Walls. I'd also like to thank Dr. Joseph Webb for opening the door for me into this world.

Support Breaking Walls at https://www.patreon.com/thewallbreakers Edgar Bergen came to the attention of American audiences on Rudy Vallée's NBC Royal Gelatin Hour on December 17th, 1936. How could ventriloquism work on radio? Perhaps Rudy Vallée himself put it best the night Bergen debuted. Five months later NBC gave Bergen his own show Sundays at 8PM. He was an instant smash hit. Don Ameche worked with Bergen in those years. He was emcee on December 12th, 1937 when Mae West was the guest for an innuendo heavy skit called “Adam and Eve.” Over the next six seasons his show was never rated lower than fourth. Twice it was the country's top program. In November of 1944 Bergen's rating was 22.7. Roughly eighteen million people tuned in on November 5th when the guest was Orson Welles for the second of back-to-back appearances on the show.

GGACP celebrates the birthday of legendary ventriloquist Willie Tyler (b. September 8th) by presenting this ENCORE of an entertaining conversation with Willie and his longtime partner, Lester, from 2018. In this episode, Willie (and Lester) discuss the history of the “Chitlin Circuit,” ventriloquism-themed horror movies, the mob's influence in Vegas and the golden age of “the Motown Sound.” Also: Steve Rossi teams with Slappy White, George Kirby channels Pearl Bailey, Edgar Bergen offers sage advice and Willie opens for Marvin Gaye, Smokey Robinson and Stevie Wonder. PLUS: Jules Podell! Shari Lewis & Lamb Chop! Don Rickles takes a front seat! Lester meets George Jefferson! And the many talents of Paul Winchell!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Support Breaking Walls at https://www.patreon.com/thewallbreakers John Herbert “Jackie” Gleason was born on February 26th, 1916, on Chauncey Street in Bedford–Stuyvesant, Brooklyn. The younger of two children, his brother Clement died from meningitis at fourteen in 1919. Six years later his father left the family. Gleason's mother Mae got a job as a subway attendant for the Brooklyn–Manhattan Transit Corporation. Jackie spent his youth hustling pool and performing in class plays. He quit high school and took a job to perform at local theaters, putting on acts with friends, and then emceed at the Folly Theater. When Jackie was nineteen in 1935 his mother died from complications of sepsis. He worked his way up to a job at Manhattan's Club 18. Jack Warner saw him, signing Gleason to a contract for two-hundred-fifty dollars per-week. Jackie married dancer Genevieve Halford on September 20th, 1936. The couple had two children: Geraldine, born in 1940, and Linda, born in 1942. Classified as 4-F and rejected for military service, by the summer of 1944 a twenty-eight year-old Gleason had appeared in films opposite Ann Sheridan, Humphrey Bogart, Edward G. Robinson, and Betty Grable. He also became known for hosting all-night parties in his hotel suite. His hotel soundproofed his apartment out of consideration for its other guests. NBC, seeing something in the brash, outspoken Brooklynite, added him to Double Feature, co-starring Les Tremayne and Alfred Drake, Sunday nights at 10:30PM. Rebranded The Les Tremayne-Jackie Gleason Show, he debuted this episode on August 13th, 1944. Edgar Bergen was the special guest. This is that debut. The show would air until October 22nd.

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When Candice Bergen describes her childhood as weird and eccentric, she isn't exaggerating. She grew up with a world-famous sibling, who met presidents and movie stars. He was also a dummy – the kind made of wood. Charlie McCarthy was the creation of her ventriloquist father Edgar Bergen. Candice tells Mo what life was like sharing her father's love and attention with a puppet.See omnystudio.com/listener for privacy information.