Podcasts about English Channel

It’s time for another trip around the solar system on the BIGGER and BETTER Science Weekly! In this episode of the Fun Kids Science Weekly, we answer YOUR questions, have scientists battle it out to determine which science is the best, and this week we're learning all about the power of neurosurgery! Dan kicks off with the latest science news, starting with some hopeful news for one of the world's most endangered species. Next, as David Attenborough celebrates his 99th birthday, we take a look at one of the most important films of his legendary career. And finally, Jon Carter from the British Trust for Ornithology explains how the warm spring will bring exotic birds across the English Channel. Then, we answer your questions! Jess wants to know: Why babies are born with more bones than adults? And Dr. Thomas Woolley from Cardiff University answers Ziholi's question: How many milliseconds are there in 1000 centuries? In Dangerous Dan, we learn all about the Fennec Fox. In Battle of the Sciences, paediatric neurosurgeon Professor Ian Kamily from the Royal College of Surgeons of England explores the incredible workings of the brain — and why it’s one of the most important organs in the human body What do we learn about? · Good news for one of the world's rarest species · The arrival of exotic birds to the UK· Why babies have more bones than adults?· How many milliseconds are in 1000 centuries?· And in Battle of the Sciences, the importance of the brain! All on this week's episode of Science Weekly!Join Fun Kids Podcasts+: https://funkidslive.com/plusSee omnystudio.com/listener for privacy information.

This week I am talking with author Nancy Christie. She got her start in journalism and has written nonfiction, short stories and novels. Nancy's fiction and nonfiction books explore the subject of change — the challenges in transitioning (physically or emotionally) from one place to another, the sense of loss that develops when the landscape of life undergoes a metaphorical shift and the importance of finding the strength and courage to move forward. Find out more about Nancy and her books at https://www.nancychristie.com/books/ Check out Nancy's YouTube channel here https://www.youtube.com/@midlifemoxienovelseries3804Across the English Channel will be out May 28th! Pre-order it here: https://www.amazon.com/Across-English-Channel-Stepping-Book-ebook/dp/B0F6QGS6M2/ See the reviews coming in here: https://www.goodreads.com/book/show/232279941-across-the-english-channelSign up for my writers' newsletter to learn more about the craft of writing, know when my workshops are and be the first to get exclusive information on my writing retreats. https://katcaldwell.com/writers-newsletterWant more information on my books, author swaps, short stories and what I'm reading? Sign up for my readers' newsletter. https://storylectory.katcaldwell.com/signup You can always ask me writing questions on instagram @katcaldwell_writing

Dr Beibei Du Harpur & Kathryn Clifford from Skin Cancer charity SKCIN tell us we need to know about Skin Cancer Awareness Month.Footballer legend Graeme Souness, speaks to us live from the English Channel as he swims to France and back, raising money for the charity, DEBRA.Join Chris, Vassos and the Class Behind The Glass every morning from 6.30am for laughs with the listeners and the greatest guests. Listen on your smart speaker, just say: "Play Virgin Radio." Hosted on Acast. See acast.com/privacy for more information.

Coming up on the next episode of Key Change... the trajectory of an opera career from academia to the main stage with musicians & opera educators Jamie Flora and Kirstin Ditlow. *** Key Change is a production of The Santa Fe Opera, Department of Community Engagement & Education. Share your favorite opera moments and questions with Community Engagement: agarcia@santafeopera.org Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosted by Anna Garcia & Olga Perez Flora Audio Engineering: Collin Ungerleider & Kabby at Kabby Sound Studios in Santa Fe Technical Director: Edwin R. Ruiz Production Support from Alex Riegler Show Notes by Lisa Widder Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello Cover art by Dylan Crouch This podcast is made possible due to the generous support of the Hankins Foundation, Principal Education Sponsor of the Santa Fe Opera. To learn more, visit SantaFeOpera.org/KeyChange.  

A 9-year-old boy from Kentucky is remembered by many after being swept away by flood waters. AND 49-year-old Melanie Barratt becomes the first blind woman to swim the English Channel. To see videos and photos referenced in this episode, visit GodUpdates! https://www.godtube.com/blog/9-year-old-boy-swept-away.html https://www.godtube.com/blog/melanie-barratt-swims-english-channel.html Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

Heading back to the skies over England as we tackle the classic Battle of Britain. In 1940, the British Royal Air Force fights a desperate battle to prevent the Luftwaffe from gaining air superiority over the English Channel as a prelude to a possible Axis invasion of the U.K. We are NOT experts, veterans or...

Nancy Steadman Martin is the only woman in the world, over 70, to break 21 minutes in the 1500 freestyle! What does it mean to be truly unstoppable at 70? Steadman Martin embodies this question as she continues to shatter world swimming records while maintaining a thriving career as a senior law partner. Her remarkable journey defies every notion about aging and physical limitations. She's also a mermaid--really!Nancy's swimming resume reads like a fantasy novel: world records in the 800 and 1500 freestyle (70-74 age group), swimming the English Channel in record time for women over 50, completing the coveted Triple Crown of Open Water Swimming, and winning national titles that often beat competitors decades younger. All while working full-time in law.The secret to her extraordinary success? A 5:05 AM daily plunge into the pool for a 4,500-yard workout before heading to the office by 8:00, coupled with an unwavering commitment to goal-setting. "I couldn't just get in the pool and swim up and down," Nancy explains. "I need something that I'm looking forward to." This forward-looking perspective has carried her through every challenge, including a life-threatening bout with pneumonia that required lung surgery in 2017.Perhaps most touching is the legacy connection—Nancy now competes to break her late mother's backstroke records as she ages into each new bracket, describing the feeling as if her mother is swimming in the lane beside her. This familial connection extends to her chosen swimming family, the Mighty Mermaids, a legendary team of women in their 60s and 70s who have been breaking relay records together for 20 years.When asked what word comes to mind when diving into water, Nancy's answer is profoundly simple: "I'm home." For anyone feeling limited by age or circumstance, Nancy's extraordinary journey proves that with the right mindset and community, our greatest achievements may still lie ahead, regardless of age.Email us at HELLO@ChampionsMojo.com. Opinions discussed are not medical advice, please seek a medical professional for your own health concerns.

Saturday 16th July 1967 was destined to be the warmest day of the year in the South of England. But in the English Channel, there was a fog. A small dinghy pushed off the coast near Selsey on the Sussex coast, and set in motion a mystery that until this moment has never been solved. Involving missing cash, Miss World contestants and suspicious deaths, it was the scandal of the summer that has remained unsolved ever since..... Until Now.   Links: Narrated, written and produced by Ken Davies, Managing Director, GSE Media Ltd ken.davies@gsemedialtd.com Fred the Head Facebook Page https://www.facebook.com/groups/fredtheheadpodcast/   The Mysterious Case of Michael Benedict is a copyrighted GSE Media Ltd production - the content of thus podcast, including the audio recordings, scripts, and any original material, is subject to copyright protection. © 2025 GSE Media Ltd  

Things got heated in the studio as Labour MP Barry Gardiner & Reform UK chief Zia Yusuf clashed over Britain's Border Control following the revelation that a record number of migrants have crossed the English Channel in small boats this year with more than 8,000 arriving in the UK in the first four months of 2025. Hosted on Acast. See acast.com/privacy for more information.

From Paralympic pools to the English Channel, Melanie Barratt took on the toughest swim of her life — laying to rest her demons, and honouring her beloved mum.Melanie Barratt was born with congenital toxoplasmosis that left her severely visually-impaired. As a teenager she excelled academically but found it hard to keep friends. She found solace in the swimming pool where again she shone, earning a chance to represent Team GB at the 1996 and 2000 Paralympic Games. Despite winning gold medals at both, her confidence in the pool did not extend to her social life, where she struggled with self-loathing. One constant source of support however was her mother, who continued to inspire Melanie even after her death. It would take decades and a gruelling swim across the English Channel – earning a place in history – for Melanie finally to find peace.Presenter: Jo Fidgen Producer: Hetal Bapodra and June ChristieGet in touch: liveslessordinary@bbc.co.uk or WhatsApp: 0044 330 678 2784

More than 36,000 migrants crossed the English Channel in small boats last year. Our correspondent investigates the increasingly sophisticated business strategies of the criminals who smuggle them. As the planet heats, wildfires in East Asia are becoming fiercer and more frequent (10:36). And why ordinary Americans are falling out of love with their former international allies (18:31).Listen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

More than 36,000 migrants crossed the English Channel in small boats last year. Our correspondent investigates the increasingly sophisticated business strategies of the criminals who smuggle them. As the planet heats, wildfires in East Asia are becoming fiercer and more frequent (10:36). And why ordinary Americans are falling out of love with their former international allies (18:31).Listen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

If you ever wondered what drives someone to run 100 miles, swim across the English Channel, or dive into near-freezing water—all in the name of pushing limits—this episode is for you. We're joined by Shannon Hogan, author of The Unforgiving Hours, a new book celebrating the grit and grace of "ordinary" endurance athletes. In the episode, Shannon shares... Her own “unforgiving” athletic feats; How the subjects in her book prove that mental toughness can often trump physical ability; Lessons from endurance sports that apply to everyday life…and more.  Note: This is our final Miles of Books segment on Another Mother Runner. Starting Tuesday, April 22, Miles of Books launches as its own podcast! Episodes will air every other Tuesday, alternating between nonfiction (hosted by Coach Liz + Sarah) and fiction (hosted by Sarah + Ellison Weist). We're excited to share more stories—and grow our community of book-loving runners! Join us for your own adventure this fall at the Grand Traverse.  When you shop our sponsors, you help AMR. We appreciate your—and their—support!   Try before you buy: Get 20% off all Tifosi sunglasses  with code AMR2025 at TifosiOptics.com Get 20% off, plus free shipping, on all IQBar products by texting AMR to 64-000 Learn more about your ad choices. Visit megaphone.fm/adchoices

Carrie Barrett welcomes the remarkable Shannon Hogan, an inspiring figure in the world of ultra-endurance sports and the author of the newly released book, The Unforgiving Hours: The Grit, Resilience, and Perseverance at the Heart of Endurance Sports. Hogan, a former pro mountain biker, ultra-runner, open water swimmer, and avid adventurer, shares her insights on the mindset required to tackle numerous extreme athletic challenges, featuring stories and lessons from a diverse cast of lesser-known yet extraordinary athletes. They discuss the importance of community support, resilience, and the joys of discomfort, showcasing stories of athletes who have achieved the extraordinary. With themes of personal growth and perseverance, this episode encourages listeners to embrace their own challenges and explore the limits of their potential where "will becomes stronger than skill." This book will ignite your endurance spirit and help you discover the unthinkable achievements awaiting just beyond your comfort zone.    Purchase The Unforgiving Hours on Amazon or wherever books are sold Read more about Shannon and her book in The Seattle Times Support the Podcast through Venmo https://www.venmo.com/u/CarrieSappBarrett or  BuyMeACoffee.com - https://www.buymeacoffee.com/CarrieBarrett  Save 15% on  Plantstrongfoods.com with code: CARRIE15 "I Could Never Do That" Website - https://www.podpage.com/icouldneverdothat/  "I Could Never Do That" Instagram - @icouldneverdothat Theme Music: Your Love by Atch -License: Creative Commons License - Attribution 3.0 Unported (CC BY 3.0)        

On this week's podcast, I speak with Ashley Semmens. Ashley spent 18 years in the Australian Navy, enlisting in 2005 into the direct entry program as a Clearance Diver. Ashley deployed multiple times, which included Op Resolute Border Security, OP Manitou, a human remains recovery in Tongan deep waters, and two deployments to Afghanistan on OP Slipper providing Explosive Ordinance Disposal (EOD) Reconnaissance to the Infantry combat team whilst on patrol in Afghanistan and during the withdrawal of Afghanistan in 2021.  In 2022, he was medically discharged at the rank of Chief Petty Officer, now he volunteers his time to the Clearance DiverTrust. Clearance Divers (CDs) are the Australian Defence Forces' specialist divers. CD tasks include specialist diving missions to depths of 54 metres, surface and underwater demolitions, and the rendering safe and disposal of conventional explosive ordnance and improvised explosive devices. Ash is about to take on his toughest challenge yet, he has set his sights on becoming the first person to swim the English Channel — in a peculiar backwards manner. To achieve the record, Ashley will need to swim on his back for more than 15 hours, not in a traditional backstroke, but dolphin kicking while facing the sky, with minimal use of his arms. He said preparing for the 34.2-kilometre swim was as much mental as physical. The kicking is effectively how I would work in my previous profession, he said. But as a clearance diver, I will be taking mental resilience into the swim. The channel swim is set for June 2025 and aims to raise money for the Navy Clearance Divers Trust. Good luck, Ash, you got this! This is a raw story owning all your faults and redemption! To donate to the cause, see the link below https://ncdt.org.au/donations/sponsor-ash-in-a-world-first-finning-across-the-english- channel/ Presenter: Adam Blum Guest: Ashley Semmens Editor: Kyle Watkins

Sophie Etheridge is redefining open water swimming. A marathon swimmer, coach, and disability advocate, she made history in 2023 by becoming the first person with Complex Regional Pain Syndrome to swim the English Channel solo—setting a World Record for the longest English Channel Swim at an astonishing 29 hours and 4 minutes. In this episode of the Tough Girl Podcast, Sophie takes us behind the scenes of her record-breaking swim, sharing the physical and mental challenges she faced during nearly 30 hours in the water. From training and preparation to the unexpected obstacles that tested her resilience, Sophie's story is a testament to determination, adaptability, and the power of a strong support team. She also speaks about her work in making swimming more accessible, advocating for better opportunities for disabled swimmers, and why she believes everyone should have the chance to experience the freedom of open water. Tune in for an inspiring conversation about overcoming adversity, pushing boundaries, and the true meaning of endurance. *** Catch the latest episodes of the Tough Girl Podcast, dropping every Tuesday at 7 am UK time! Don't forget to subscribe so you won't miss the inspiring journeys and incredible stories of tough women.  Want to play a part in uplifting female representation in the media? Support the Tough Girl Podcast on Patreon! Your generosity helps shine a spotlight on female role models in the world of adventure and physical challenges. Join us in making a positive impact by visiting www.patreon.com/toughgirlpodcast. Thank you for your amazing support! *** Show notes Who is Sophie  Ultra marathon swimmer and adaptive athlete. Previously peaking to Sophie on the Tough Girl Podcast (TGP) in August 23rd 2022  Being the founder of ADOWS - Adaptive and Disabled Open Water Swimmers  What we talked about the first time we spoke on the TGP What was happening in 2022 The English Channel Relay Swim  Marathon Swimming Federation  Thinking about doing a solo English Channel swim  Swimming Teachers Association (STA) Conference  Wanting to complete the original swimming triple crown as a disabled person Getting sponsored to swim the English Channel  What changed going forward  Needing to have a medical and do a qualification swim  Wanting to learn as much as she could about swimming the English Channel solo Going on a swim camp in Wales by herself and travelling solo  Why 2023 was a very quick year, but took a long time Sharing her goal of a solo swim  Having 8 months to train  Starlight - shining a light on disability swimming  Up-skilling swimming teachers and training them how to teach disabled people how to swim  Having no doubts and the power of words and language  Not being able to tread water and how that changed the feeding process The multiple challenges that Sophie would have to face during the swim  Having a great crew and team around her  Going on a spring tide and getting the last slot available to swim the channel  The fear of getting out of the water at the end of the swim and not being able to use her legs… Expecting to do the swim in 18/19 hours The strategy and the plan for the swim Night swimming  Swimming sideways for 7 hours and not being able to make any progress forward 29hrs 4 mins…. Swimming!  Why it became more of a mental challenge  Aiming to swim for 24hrs! Setting 3 world records and not knowing until back on the boat Reaching France  Getting back on the boat and heading back to England Not celebrating straight away  Getting a huge amount of press Raising over £6,000 for STA  Fundraising for Level Water  How to connect with Sophie and follow along with her challenges Final words of advice Find out the starting point  Give yourself permission to let go and to try new things Why you never know where the journey is going to take you    Social Media Website/Blog: sophie-adaptive-athlete.com  Instagram: @sophie_adaptive_athlete Facebook: @sophie_adaptive_athlete  

Chloë McCardel holds multiple long distance swimming records. In October 2021 she set the record for the most English Channel crossings at 44. She also holds the Australian record for triple non-stop crossing of the English Channel. Chloë is a speaker and coach, having coached many marathon swimmers. She is also an advocate for domestic violence victims and involved in Marine Rescue - NSW (New South Wales)  “Volunteers Saving Lives on the Water.” 4:00 The Hinge Moment Of Starting Swimming From Pure Embarrassment 5:39 Being Motivated From A Young Age 7:25 Getting Swimming Taken Away 9:36 Deciding To Be The Best In The World 12:37 Having A Dream And Committing To That 14:12 An 11.2k For A First Swim 16:31 Inviting Death Into The Sport 21:39 Having The Confidence To Do A Double Crossing Of The English Channel 26:20 Outsmarting The Competition On The Hudson River 29:05 Gaining The Ability To Stay Mentally Focused 31:28 Failing At A Triple Crossing But Still Choosing To Go Back 34:29 Creating A Mindset Of A Future Identity 38:32 Choosing Not To Try To Prove People Wrong  43:13 The Most Memorable Moment Of Finishing The Triple Crossing 47:35 The Power Of Visualization And Staying In The Right Headspace 56:03 The Quad Attempt From 2018 57:51 Accepting The Quad Failure 1:01:35 Deciding To Become The Queen Of The Channel 1:03:50 Developing A Love For The Channel From The Start 1:08:35 Telling Yourself It's Ok You Can Stop  1:14:37 Box Jellyfish Attack  1:19:29 Converting The Love For Water To Help People 1:24:34 The Need For Passion To Complete Your Goals 1:26:48 The Channel Queen Foundation Don't forget you can also follow Dr. Rob Bell on Twitter or Instagram.  Follow At:  Twitter @drrobbell Instagram @drrobbell Download Your Daily Focus Road Map! https://drrobbell.com/ If you enjoyed this episode on Mental Toughness, please subscribe and leave a review! Dr. Rob Bell

In his famous 1962 address to Rice University, President Kennedy declared,We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard . . .The current administration has chosen, among other things, to go to Mars. Some, Elon Musk included, are looking for a backup planet to Earth. For others, like Robert Zubrin, Mars is an opportunity for scientific discovery, pure challenge, and a revitalized human civilization.Today on Faster, Please — The Podcast, Zubrin and I discuss how to reorient NASA, what our earliest Mars missions can and should look like, and why we should go to Mars at all.Zubrin is the president of aerospace R&D company Pioneer Astronautics, as well as the founder and president of the Mars Society. He was also formerly a staff engineer at Lockheed Martin. He has authored over 200 published papers and is the author of seven books, including the most recent, The New World on Mars: What We Can Create on the Red Planet.For more, check out Zubrin's article in The New Atlantis, “The Mars Dream is Back — Here's How to Make It Actually Happen.”In This Episode* Colonization vs. exploration (1:38)* A purpose-driven mission (5:01)* Cultural diversity on Mars (12:07)* An alternative to the SpaceX strategy (16:02)* Artemis program reform (20:42)* The myth of an independent Mars (24:17)* Our current timeline (27:21)Below is a lightly edited transcript of our conversation. Colonization vs. exploration (1:38)I do think that it is important that the first human mission to ours be a round-trip mission. I want to have those people back, not just because it's nice to have them back, but I want to hear from them. I want to get the full report.Pethokoukis: Just before we started chatting, I went and I checked an online prediction market — one I check for various things, the Metaculus online prediction market — and the consensus forecast from all the people in that community for when will the first humans land successfully on Mars was October 2042. Does that sound realistic, too soon, or should it be much further away?I think it is potentially realistic, but I think we could beat it. Right now we have a chance to get a Humans to Mars program launched. This current administration has announced that they intend to do so. They're making a claim they're going to land people on Mars in 2028. I do not think that is realistic, but I do believe that it is realistic for them to get the program well started and, if it is handled correctly — and we'll have to talk a lot more about that in this talk — that we could potentially land humans on Mars circa 2033.When I gave you that prediction and then you mentioned the 2020s goal, those are about landing on Mars. Should we assume when people say, “We're going to land on Mars,” they also mean people returning from Mars or are they talking about one-way trips?Musk has frequently talked about a colonization effort, and colonization is a one-way trip, but I don't think that's in the cards for 2028 or 2033. I think what is in the cards for this time period on our immediate horizon is exploration missions. I do think that we could potentially have a one-way mission with robots in 2028. That would take a lot of work and it's a bit optimistic, but I think it could be done with determination, and I think that should be done, actually.To be clear, when people are talking about the first human mission to Mars, the assumption is it's not a one way trip for that astronaut, or those two astronauts, that we intend on bringing them back. Maybe the answer is obvious, but I'm not sure it's obvious to me.From time to time, people have proposed scenarios where the first human mission to Mars is a one-way mission, you send maybe not two but five people. Then two years later you send five more people, and then you send 10 people, and then you send 20 people, and you build it up. In other words, it's not a one-way mission in the sense of you're going to be left there and your food will then run out and you will die. No, I don't think that is a credible or attractive mission plan, but the idea that you're going to go with a few people and then reinforce them and grow it into a base, and then a settlement. That is something that can be reasonably argued. But I still think even that is a bit premature. I do think that it is important that the first human mission to ours be a round-trip mission. I want to have those people back, not just because it's nice to have them back, but I want to hear from them. I want to get the full report.A purpose-driven mission (5:01)In the purpose-driven mode, the purpose comes first, you spend money to do things. In the vendor-driven mode, you do things in order to spend money. And we've seen both of these.So should we just default to [the idea] that this mission will be done with government funding on SpaceX rockets, and this will be a SpaceX trip? That's by far the most likely scenario? This is going to need to be a public-private partnership. SpaceX is rapidly developing the single most important element of the technology, but it's not all the technology. We need surface systems. We need the system for making rocket fuel on Mars because the SpaceX mission architecture is the one that I outlined in my book, The Case for Mars, where you make your return propellant on Mars: You take carbon dioxide and water, which are both available on Mars, and turn them into methane and oxygen, which is an excellent rocket fuel combination and which, in fact, is the rocket fuel combination that the Starship uses for that reason. So that's the plan, but you need the system that makes itWe're going to need surface power, which really should be a nuclear power source and which is difficult to develop outside of the government because we're talking about controlled material. Space nuclear reactors will need to use highly enriched uranium, so it should be a partnership between NASA and SpaceX, but we're going to have to reform NASA if this is going to work. I think, though, that this mission could be the vehicle by which we reform NASA. That is, that NASA Artemis moon program, for example, is an example of how not to do something.That's the current government plan to get us back to the moon.Right. But you see, NASA has two distinct modes of operation, and one I call the purpose-driven mode and the other is the vendor-driven mode. In the purpose-driven mode, the purpose comes first, you spend money to do things. In the vendor-driven mode, you do things in order to spend money. And we've seen both of these. To be fair, there's been times when NASA has operated with extreme efficiency to accomplish great things in very short amounts of time, of which, of course, the Apollo Program is the most well-known example where we got to the moon and eight years from program start. The difference between Apollo and Artemis was it wasn't human nature — and there were plenty of greedy people in the 1960s that, when the government's spending money, they want a piece of the action, they were all there.There's no shortage of people who, when you've got a lot of money to spend, are willing to show up and say, “Hi, you got a great idea, but you can't do it until you fund me.” And there were plenty of them then, but they were shown the door because it was clear that if we did all these side projects that people were trying to claim were necessary (“you can't do your program until you do my program”) we would not make it to the moon by 1969. So actually, the forcing function was the schedule. That's what forced the nonsense out of the room.Artemis, on the other hand, has been undertaken as a project whose leadership thought that they could secure a lot of support for the program if they gave a lot of people money. So Artemis has five different flight systems which are incompatible with each other. It's a ridiculous program. That's not the way to do things. We have to have a program leadership which is committed to humans-to-Mars not as a way to get pet technology programs funded, or pet constituencies funded, or pet vendors funded, or any of that stuff. It's got to be: the mission comes first. And if you have that kind of emphasis on this, this can be done and it can be the way to reform NASA.I liken NASA today to a peacetime military, but then it gets thrown into battle, and you get rid of your McClellans and you bring in your Grants. In other words, you have a certain period of chaos and disorganization because you've got deadwood running the place, but under the stress of actually beginning a decisive mission and not being tolerant of anything less than real performance, you actually get the army you need.So that sounds like that's a presidential decision, to give that agency a very specific goal, and perhaps a timeline, to create that kind of purpose-driven culture.Yes. Now that's one necessity. There's another necessity as well, which is that the conceptual base of this program, the political base, if you will, which is derived from its intellectual base, has got to be expanded. This cannot be seen as a Trump-Musk boondoggle because Trump and Musk have both defined themselves in extremely partisan terms, and if this is seen as their program and not America's program, it will be gone as soon as the political fortunes of war shift, which they always do. Musk has this concept that he's been promoting, which is the reason why we have to go to Mars is so that there'll be survivors on Mars after the Earth is destroyed, and I don't think this is particularly —You don't find that a compelling reason, given that there's not currently an obvious threat of us being destroyed, to run a program that could necessarily exist over multiple administrations and be quite expensive.That idea is derived from Isaac Asimov's Foundation novel: The scientists go to the planet Terminus so they can reestablish civilization after the Galactic Empire collapsed. It may please science-fiction fans, but I don't think it's attractive to the general public, and also, frankly, I don't think it's practical. I don't think a Mars colony could have a million people on Mars that will survive as an autarchy. There's no nation on earth that survives as an autarchy. The ones that try are extremely poor as a result for trying.The correct reason to go to Mars is, immediately, for the science, to find out the truth about the prevalence of diversity of life in the universe; for the challenge, to challenge our youth, learn your science and you can be an explorer and maker of new worlds; and for the future, but for the future, it's not for a few survivors to be hiding away after the earth is destroyed, it's to create a new branch, or perhaps several new branches, of human civilization which will add their creative inventiveness to human progress as a whole, as America did for Western civilization. By establishing America, you had a new branch of Western civilization which experimented in everything from democracy to light bulbs and airplanes and greatly enhanced human progress as a result.And the Martians, you are going to have a group of technologically adept people in a frontier environment that's going to challenge them. They're going to come up with lots of inventions that they need for their own progress, but which will benefit human as a whole. And that is why you should colonize Mars.Cultural diversity on Mars (12:07)I believe that there will . . . be many colonies on Mars established by different people with different ideas on what the ideal civilization should be, and the ones with the best ideas will attract the most immigrants and therefore outgrow the rest.It very much reminds me of the scenario laid out in The Expanse book and TV series where mankind has spread throughout the solar system. They're all branches of human civilization, but being out there has changed people, and Mars is different than Earth. Mars has a different society. The culture is different. I think that's a very interesting reason that I had not heard Elon Musk discuss.I have a book called The New World on Mars, which you might want to check out because I discuss this very thing. I believe that there will, once it's possible to colonize Mars, there'll be many colonies on Mars established by different people with different ideas on what the ideal civilization should be, and the ones with the best ideas will attract the most immigrants and therefore outgrow the rest. So, for example, the one thing I disagree with about The Expanse is they have this militaristic Spartan civilization on Mars.There's just one sort of universal culture.Yeah, and I don't think that that civilization would attract many immigrants. The reason why the American North outgrew the South is because the North was free. That's why all the immigrants went to the North. That's why the North won the Civil War, actually. It had a larger population of more industry because all the immigrants went there and became far more creative. This is a very good thing, that the form of civilization that ultimately prevails on Mars will be one, I think, that will offer human freedom and be the most attractive in as many other respects as possible. That's why it will prevail, because it will attract immigrants.But I want to get back to this program. If it is possible not to land humans on Mars in 2028, but to land — if you can land Starship on Mars, you can land not a robot, but a robotic expedition.Starship, Musk claims it could land 100 tons on Mars. Let's say it could land 30. That's 30 times as much as we can currently land. The JPL (Jet Propulsion Laboratory)-led Mars science community, they're still thinking about Mars exploration in the terms it's been done since the '60s, which is single spacecraft on single rockets. Imagine you can now land an entire expedition. You land 30 rovers on Mars along with 30 helicopters that are well instrumented and a well instrumented science lab in it. So now you are bringing not only heavy lift, but heavy lander capability to the Mars science program, and now you have a robotic expedition on Mars. For every instrument that made it onto perseverance, there were 10 that were proposed because they could only take six, and like 100 teams wanted to get their instruments on the rover. So imagine now we can actually land 30 rovers and 30 helicopters, not little ones like Ingenuity, but ones that can carry five or six instruments each themselves.So now you have 100 science teams, you've got life-detection experiments, you've got ground penetrating radar, you've got all sorts of things that we haven't done on Mars all being done. You're expanding Mars science by two orders of magnitude by bringing into existence the kind of transportation capability that is necessary to enable humans to Mars. So now you bring on board the science community and the science-interested public, which includes all parts of the political spectrum, but frankly it leans somewhat left, overall — university scientists, people like this.So now this isn't just about Elon Musk, the Bond villain. This is about what we as America and we as a culture which is committed to pushing the boundaries of science. This is what we are doing. It's not what SpaceX is doing, it's not what Musk is doing, it's not what Trump is doing, it's what America is doing, and celebrating the highest values of Western civilization, which is the search for truth.An alternative to the SpaceX strategy (16:02)Starship plus Starboat is the flight hardware combination that can do both the moon and Mars.That said — and we're talking about this being a public-private partnership —should we just default into thinking that the private part is SpaceX?Well, SpaceX is one part of it. There's no question, to me anyway —There's other companies that are building rockets, there's other rocket companies, maybe they aren't talking about Mars, but Blue Origin's building rockets.I think it should be fairly competed, but SpaceX is well ahead of anyone else in terms of a booster capability. That said, I think that the mission architecture that Musk has proposed, while workable, is not optimal, that there needs to be another vehicle here. He's got the Starship, I want to have a Starboat. I've written an article about this, which was just published in The New Atlantis.Basically, the problem with Musk's architecture is that the direct return from Mars using a Starship, which is a 100-ton vehicle, would require manufacturing 600 tons of methane oxygen on the surface of Mars, and if that's to be done in a reasonable amount of time, requires 600 kilowatts, which is about 13 football fields of solar panels, which means we're not doing it with solar panels, which means it has to be done with a nuke, and that then adds a lot to the development.If we had a Starboat, which is something 10 to 20 percent the size of Starship, but it would go from Mars orbit to the surface and we refuel it, and then it is what takes the crew down to the surface — although the crew could go one way to the surface in a Starship, that's okay, but whether they go down in a Starship or down in a Starboat, they come up in a Starboat, and now you're reducing the propellant requirement by an order of magnitude. It makes this whole thing work much better. And furthermore, Starship plus Starboat also enables the moon.We've forgotten about the moon in this conversation.Starship plus Starboat is the flight hardware combination that can do both the moon and Mars. If you take the Starship version of the Artemis thing, it takes 10 to 14 Starship launches to land a single crew on Mars refueling Starship on orbit, then refueling it in lunar orbit, and with tankers that have to be refueled in earth orbit, and doing all this, it's crazy. But if you positioned one Starship tanker in lunar orbit and then used that to refuel Starboats going up and down, you could do many missions to the lunar surface from a single Starship positioned in lunar orbit. Once again, Starship is suboptimal as an ascent vehicle to come back from the moon or Mars because it's so heavy. It's a hundred tons. The lunar excursion module we used in Apollo was two tons. So we make the Starboat — Starship plus Starboat gives you both the moon and Mars.Here's the thing: With rockets, you measure propulsion requirements in units we call delta V, velocity changes. That's what rockets actually do, they change your velocity, they accelerate you, they decelerate you. To go down from lunar orbit to the lunar surface is two kilometers a second. Delta V to come back up is two kilometers a second. Roundtrip is four. To go down from Mars orbit to the Martian surface is practically nothing because there's an atmosphere that'll slow you down without using your rocket. To come up is four. So the round trip on Mars and the round trip from orbit to the surface on the moon are the same, and therefore the same combination of the Starship plus the Starboat as a landing craft and, in particular, ascent vehicle (because ascent is where small is beautiful), this will give us both. So we don't have to wreck the moon program in order to do Mars. On the contrary, we can rationalize it.I mentioned one group of potential enemies this program has been the anti-Musk Democrats. The other group of enemies that this program has are the moon people who are very upset that their moon program is about to be wrecked because Musk says the moon is a diversion. Now, if it was a choice between the moon and Mars, then I would choose Mars. But we can do both. We can do both and without it being a diversion, because we can do both with the same ships.Artemis program reform (20:42)SLS was worth a lot in its time, but its time was the '90s, not now.There's been some talk about canceling — I'm not sure how serious it is — the Artemis program. If we want the next person on the moon to be an American rather than a Chinese, do we need to keep Artemis to make sure that happens?We need to reform Artemis and this is the way to do it: Starship plus Starboat will give you the moon.Aren't we under a time constraint, given that if we are competing and if we think for whatever national pride reasons we want the next person on the moon to be an American, do we just kind of have to continue with the Artemis program as sort of a wasteful boondoggle as it is?No, because there are things in the Artemis program that don't even make any sense whatsoever, like the lunar orbit gateway, which is simply not necessary. The SLS (Space Launch System) as a launch vehicle is not necessary now that we have Starship. SLS made a lot of sense when it was first proposed in the late 1980s under a different name. I happen to know that because, as a young engineer, I was on the design team that did the preliminary design for what we now call SLS at Martin Marietta in 1988. And it was really just a simplification of the Space Shuttle, and if it had been developed in flying by the mid-'90s, as was entirely reasonable, it could have had a great role in giving us massively improved space capabilities over the past quarter-century. But they let this thing go so slowly that by the time it has appeared, it's obsolescent, and it's as if someone had stalled the development of the P-51 fighter plane so it wasn't available during World War I, but it's just showing up now in a world of jet fighters — this is worthless. Well, it was worth a lot in its time. SLS was worth a lot in its time, but its time was the '90s, not now.Orion doesn't really make that much sense, and the National Team lander would make sense if it was modified to be Starboat. What happened was NASA gave the contract to SpaceX to use Starship as a lunar lander, and it can be, but it's suboptimal. In any case, the National Team, which was Lockheed, and Boeing, and Blue Origin, they complained, but basically their complaint was, “We want a contract too or we won't be your friends.” And so they had sufficient political heft to get themselves a contract. The least NASA could have done is insist that the lander they were getting a contract for run on methane-oxygen, the same propellant as Starship, so Starship could service it as a tanker. Instead, they let them do their own thing and they've got a hydrogen-oxygen rocket, which makes no sense! It's like someone going to the Air Force and proposing a fighter plane that runs on propane and saying, “Well, I can make a fighter run on propane, but my tankers use jet fuel.” Air Force, being sensible, insists that all their planes run on the same fuels. They don't just let someone come along and use whatever fuel they like. So the National Team contract should be changed to a Starboat contract, and the requirements should be interoperability with Starship.The myth of an independent Mars (24:17)We go to Mars not out of despair, we go to Mars out of hope, and by establishing new branches of human civilization, they'll be able to do all sorts of things.As we finish up, I just want to quickly jump back to something you mentioned earlier about autarchy. Do you think it's possible to have a thriving, successful, sustainable Mars colony that's on its own?No. I don't think it's possible to have a thriving, successful nation on earth that's on its own. This is why I think Trump's trade war is a big mistake. It will damage our economy. Now, obviously, we can survive a trade war better than a Mars —That's what Musk is also suggesting in its whole light of consciousness that we need to be able to establish sustainable, permanent colonies elsewhere that can be just fine without a relationship with Earth.I think that's incorrect, and as you know, since you are an expert in economics, it's nonsensical. I don't think a colony of one million people would have the division of labor to build anything like an iPhone or even an iPhone battery if you think of the complexity of what is involved.There's this famous essay, “I, Pencil,” which I'm sure you're acquainted with. An economist went through all the different things that went into —Yes, Milton Friedman used that example famously. I think I get your point.iPhones are more complex than pencils. I mean, you probably could build a pencil with a million-person city, but we need to build things more complicated than that. But that's not the point here, that's not why we're going on. And I object to this. It's the Masque of the Red Death theory of how you're going to survive a plague: We'll have our castle and we can go into it and we'll be fine. No, it's extremely unattractive and it's false. The people in that castle in the Masque of the Red Death, the Edgar Allen Poe story, did not survive the plague, and it's not why we should go to Mars. We go to Mars not out of despair, we go to Mars out of hope, and by establishing new branches of human civilization, they'll be able to do all sorts of things.America developed steamboats because we needed inland transportation because the only highways we had were rivers, and so forth, and so we've been an engine of invention. Mars is going to be an engine of invention. Mars is going to want to have not just nuclear reactors, but breeder reactors, and they're going to want to have fusion power because deuterium is five times as common on Mars as it is on earth, and they're going to be electrolyzing water all the time as part of their life-support system, which means releasing hydrogen, making deuterium separation very cheap, and one could go down this kind of thing. There's all sorts of things that a Martian civilization would develop, to say nothing of the fact that a spacefaring civilization will have the capability to divert asteroids so that they don't impact the earth. So that's why we're going to Mars. We increase the creative capacity of humanity to deal with all challenges raging from asteroid impacts to epidemics.Our current timeline (27:21). . . if you have your first humans on Mars in early 2030s, I think we can have a permanent Mars base by the end of that decade . . .So let me just finish up with this, and I think as far as a justification for going to Mars, that's about the most persuasive I know, and maybe I'm an easy audience, but I'm persuaded.Let's set aside just putting an astronaut or a few astronauts on the moon and bringing them home, and let's set aside the permanent, sustainable, solo, doesn't-need-Earth colony. Just as far as having a sort of a permanent outpost, what do you think is the reasonable timeframe, both technologically and given the politics?I do think, if we do what I am arguing for, which is to make it the mission of this administration to not only just land a Starship on Mars, but land a Starship on Mars bringing a massive robotic expedition to Mars, and then following that up with several more robotic landings to Mars that prepare a base, set up the power system, et cetera, then yes, I think landing the first humans on Mars in 2033 is entirely reasonable. What the Trump administration needs to do is get this program going to the point where people look at this and say, “This is working, this is going to be great, it's already great, let's follow through.”And then, if you have your first humans on Mars in early 2030s, I think we can have a permanent Mars base by the end of that decade, by 2040, a base with 20–30 people on it. A human expedition to Mars doesn't need to grow food. You can just bring your food for a two-year expedition, and you should. You establish a base of 10 or 20 to 30, 50 people, you want to set up greenhouses, you want to be growing food. Then you start developing the technologies to make things like glass, plastic, steel, aluminum on Mars so you can build greenhouses on Mars, and you start establishing an agricultural base, and now you can support 500 people on Mars, and then now the amount of things you can do on Mars greatly expands, and as you build up your industrial and agricultural base, and of course your technologies for actually implementing things on Mars become ever more advanced, now it becomes possible to start thinking about establishing colonies.So that's another thing. Musk's idea that we're going to colonize Mars by landing 1,000 Starships on Mars, each with a hundred people, and now you've got a hundred thousand people on Mars, kind of like D-Day, we landed 130,000 men on the Normandy Beach on D-Day, and then another 100,000 the next day, and so forth. You could do that because you had Liberty Ships that could cross the English Channel in six hours with 10,000 tons of cargo each. The Starship takes eight months to get to Mars, or six, and it takes a 100 tons. You can't supply Mars from Earth. You have to supply Mars from Mars, beyond very small numbers, and that means that the colonization of Mars is not going to be like the D-Day landing, it's going to be more like the colonization of America, which started with tiny colonies, which as they developed, created the crafts and the farms, and ultimately the industries that could support, ultimately, a nation of 300 million people.On sale everywhere The Conservative Futurist: How To Create the Sci-Fi World We Were PromisedMicro Reads▶ Economics* Why the Fed's Job May Get a Lot More Difficult - NYT* America's Economic Exceptionalism Is on Thin Ice - Bberg Opinion* Trump Is Undermining What Made the American Economy Great - NYT Opinion* Don't Look to the Fed for the Answer to Stagflation - Bberg Opinion▶ Business* Inside Google's Two-Year Frenzy to Catch Up With OpenAI - Wired* Some Nvidia Customers Are OK With Older Chips - WSJ* SoftBank to Buy Ampere, a Silicon Valley Chip Start-Up, for $6.5 Billion - NYT* Nvidia CEO Says He Was Surprised That Publicly Held Quantum Firms Exist - Bberg* The promise of the fifth estate is being squeezed - FT* Boeing Beats Lockheed for Next-Gen US Fighter Jet Contract - Bberg▶ Policy/Politics* Six Ways to Understand DOGE and Predict Its Future Behavior - Cato* Government Science Data May Soon Be Hidden. They're Racing to Copy It. - NYT* Stopping Child Porn Online Is a Worthy Goal. But Beware the Proposed Cure - WSJ▶ AI/Digital* Mini-satellite paves the way for quantum messaging anywhere on Earth - Nature* The Impact of GenAI on Content Creation – Evidence from Music Videos - SSRN* AI weather forecast project eyes access through desktop computers - FT▶ Biotech/Health* Why a weight-loss drug could become a geopolitical bargaining chip - FT* We've entered a forever war with bird flu - The Verge* Doctors Told Him He Was Going to Die. Then A.I. Saved His Life. - NYT▶ Clean Energy/Climate* Inside a new quest to save the “doomsday glacier” - MIT* Glaciers are melting at record speed, says UN - Semafor▶ Robotics/AVs* Disney's Robotic Droids Are the Toast of Silicon Valley - WSJ* The fantasy of humanoid robots misses the point - FT▶ Space/Transportation* The ax has become an important part of the Space Force's arsenal - Ars* NASA Won't Let Starliner Die Just Yet, Even After Boeing's Space Fiasco - Gizmodo* How Warp Drives Don't Break Relativity - Universe Today▶ Up Wing/Down Wing* Japan Urgently Needs an AI Vibe Shift - Bberg Opinion* What left-wing critics don't get about abundance - Niskanen Center▶ Substacks/NewslettersWhat is Vibe Coding? - AI SupremacyFaster, Please! is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. This is a public episode. 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On this week's Aftermath, Rebecca speaks with Harriet Strahl about the White Ship Disaster. A PHD student at Durham University, Harriet has done extensive research on the various accounts of the tragic event from different scholars at the time and lends an equally balanced 12th century and 21st century take on the problematic circumstances of this doomed voyage across the English Channel. Afterwards, Patreon subscribers can revisit the board with Fact Checker Chris Smith and Producer Clayton Early and see if the verdict sinks or swims. Not part of the Patreon family yet?! Join us below.This episode is brought to you by BetterHelp.Make a one time Donation while we recover from the Eaton Canyon Fires.Join our Patreon!Join our Discord!Tell us who you think is to blame at http://thealarmistpodcast.comEmail us at thealarmistpodcast@gmail.comFollow us on Instagram @thealarmistpodcastFollow us on Twitter @alarmistThe Support this show http://supporter.acast.com/alarmist. Hosted on Acast. See acast.com/privacy for more information.

From burned out to fired up. Maryam Farizadeh takes the woo out of corporate wellness. Maryam is a corporate wellness consultant. Companies hire her to create and implement wellness strategies to improve employee mental and physical health. Healthy employees tend to be happier employees. Happier employees tend to clock in and be productive. "There's a lot of good research coming out that when we feel good we do better. Our work is better. We're more productive. The research is out there," says Maryam. Maryam founded a company called Office Yoga 10 years ago. That program went global and was used in more than 475 companies around the world including Amazon, Oracle and Twitter. The pandemic changed everything. Employers are turning to wellness programs to reinvigorate staffers and build engagement. But, it goes both ways. Taking advantage of wellness programs can energize an employee to better manage and enjoy their personal life too. Maryam's latest company is ZaaS. It stands for Zen-as-a-Service. And she's sharing some simple work wellness hacks that can make a day at the office feel like a day at the spa. Kidding. But, you will feel a mood and energy boost with just a few minutes of conscious stretching or focusing. 85% of American companies offer some kind of a wellness program. If you're not taking part, you're missing out. Maryam is an entrepreneur and endurance athlete. She's the first woman and only the second person to swim around San Francisco. And she even swam across the English Channel. She's done big things by focusing on little things that matter. And you can too. On this Dying to Ask: The true cost of burnout The link between mental health and the bottom line The number one reason corporate wellness programs fail (heads-up bosses!) The two minute break you can take at work that will give you energy and improve your mood

The UK's National Crime Agency has been intensifying its campaign to crack down on people smugglers operating in the Iraqi Kurdish region. Thousands of Iraqi Kurds make the risky journey each year trying to reach Europe and the UK. Many are smuggled there on crowded, ill-equipped boats across dangerous seas in search of a better life. A months-long investigation by The National traced direct links between some of the most notorious smuggler gangs operating from Kurdish towns in Iraq, and in France and the UK. In this episode of Beyond the Headlines, host Nada AlTaher speaks to the reporting team about what they uncovered: a teenage girl stuck in a northern French town, struggling to cross the English Channel; an infamous ringleader who has gone into hiding; and a sham car wash in Wales that pulls the strings from behind the scenes. Sunniva Rose, Aveen Karim and Tariq Tahir recount the details of their investigation and talk about the impact of recent police raids on both smugglers and migrants.

Welcome back, Catholic Pilgrims. Today, Mother Cabrini and the Sisters are aboard the ship. The sleep on the ship the night before it sets sail and they wake early in the morning to go to Mass before leaving port. After Mass, they head back to the ship and have breakfast.  So, if you can just imagine as we read, they are off again steaming through the English Channel. England is to their north and France to their south. It's a beautiful day, so let's turn to page 45 and hear about the start of this voyage. 

President Trump has been threatening to “take back” the Panama Canal since he regained power. In this episode, listen to testimony from officials serving on the Federal Maritime Commission who explain why the Panama Canal has become a focus of the administration and examine whether or not we need to be concerned about an impending war for control of the canal. Please Support Congressional Dish – Quick Links Contribute monthly or a lump sum via Support Congressional Dish via (donations per episode) Send Zelle payments to: Send Venmo payments to: @Jennifer-Briney Send Cash App payments to: $CongressionalDish or Use your bank's online bill pay function to mail contributions to: Please make checks payable to Congressional Dish Thank you for supporting truly independent media! Background Sources Recommended Congressional Dish Episodes Current Events around the Panama Canal March 5, 2025. the Associated Press. Sabrina Valle, Suzanne McGee, and Michael Martina. March 4, 2025. Reuters. Matt Murphy, Jake Horton and Erwan Rivault. February 14, 2025. BBC. May 1, 2024. World Weather Attribution. World Maritime News Staff. March 15, 2019. World Maritime News. July 29, 2018. Reuters. Panama Canal Treaty of 1977 U.S. Department of State. The Chinese “Belt and Road Initiative” Michele Ruta. March 29, 2018. World Bank Group. The Trump-Gaza Video February 26, 2025. Sky News. Laws Audio Sources Senate Committee on Commerce, Science, and Transportation January 28, 2025 Witnesses: Louis E. Sola, Chairman, Federal Maritime Commission (FMC) Daniel B. Maffei, Commissioner, FMC , Professor, Scalia Law School, George Mason University Joseph Kramek, President & CEO, World Shipping Council Clips 17:30 Sen. Ted Cruz (R-TX): Between the American construction of the Panama Canal, the French effort to build an isthmus canal, and America's triumphant completion of that canal, the major infrastructure projects across Panama cost more than 35,000 lives. For the final decade of work on the Panama Canal, the United States spent nearly $400 million, equivalent to more than $15 billion today. The Panama Canal proved a truly invaluable asset, sparing both cargo ships and warships the long journey around South America. When President Carter gave it away to Panama, Americans were puzzled, confused, and many outraged. With the passage of time, many have lost sight of the canal's importance, both to national security and to the US economy. 18:45 Sen. Ted Cruz (R-TX): But the Panama Canal was not just given away. President Carter struck a bargain. He made a treaty. And President Trump is making a serious and substantive argument that that treaty is being violated right now. 19:10 Sen. Ted Cruz (R-TX): President Trump has highlighted two key issues. Number one, the danger of China exploiting or blocking passage through the canal, and number two, the exorbitant costs for transit. 19:20 Sen. Ted Cruz (R-TX): Chinese companies are right now building a bridge across the canal at a slow pace, so as to take nearly a decade. And Chinese companies control container points ports at either end. The partially completed bridge gives China the ability to block the canal without warning, and the ports give China ready observation posts to time that action. This situation, I believe, poses acute risks to US national security. 19:50 Sen. Ted Cruz (R-TX): Meanwhile, the high fees for canal transit disproportionately affect Americans, because US cargo accounts for nearly three quarters of Canal transits. US Navy vessels pay additional fees that apply only to warships. Canal profits regularly exceed $3 billion. This money comes from both American taxpayers and consumers in the form of higher costs for goods. American tourists aboard cruises, particularly those in the Caribbean Sea, are essentially captive to any fees Panama chooses to levy for canal transits, and they have paid unfair prices for fuel bunkering at terminals in Panama as a result of government granted monopoly. Panama's government relies on these exploitative fees. Nearly 1/10 of its budget is paid for with canal profit. 21:25 Sen. Ted Cruz (R-TX): Panama has for years flagged dozens of vessels in the Iranian ghost fleet, which brought Iran tens of billions of dollars in oil profits to fund terror across the world. 21:40 Sen. Ted Cruz (R-TX): And Chinese companies have won contracts, often without fair competition, as the infamous Belt and Road Initiative has come to Panama. China often engages in debt trap diplomacy to enable economic and political coercion. In Panama, it also seems to have exploited simple corruption. 32:40 Louis Sola: The Panama Canal is managed by the Panama Canal Authority, ACP, an independent agency of the Panamanian government. The ACP is a model of public infrastructure management, and its independence has been key to ensure a safe and reliable transit of vessels critical to the US and global commerce. 33:25 Louis Sola: In contrast, the broader maritime sector in Panama, including the nation's ports, water rights, and the world's largest ship registry, falls under the direct purview of the Panamanian government. 33:35 Louis Sola: Unfortunately, this sector has faced persistent challenges, including corruption scandals and foreign influence, particularly from Brazil and China. These issues create friction with the ACP, especially as it works to address long term challenges such as securing adequate water supplies for the canal. 33:55 Louis Sola: Although the ACP operates independently, under US law both the ACP and the government of Panama's maritime sector are considered one in the same. This means that any challenges in Panama's maritime sector, including corruption, lack of transparency, or foreign influence, can have a direct or indirect impact on the operations and long term stability of the canal. This legal perspective highlights the need for diligence in monitoring both the ACP's management and Panama government's policies affecting maritime operations. 34:30 Louis Sola: Since 2015, Chinese companies have increased their presence and influence throughout Panama. Panama became a member of the Belt and Road Initiative and ended its diplomatic relations with Taiwan. Chinese companies have been able to pursue billions of dollars in development contracts in Panama, many of which were projects directly on or adjacent to the Panama Canal. Many were no bid contracts. Labor laws were waived, and the Panamanian people are still waiting to see how they've been benefited. It is all more concerning that many of these companies are state-owned, and in some cases, even designated as linked to the People's Liberation Army. We must address the significant growing presence and influence of China throughout the Americas and in Panama, specifically. 35:20 Louis Sola: American companies should play a leading role in enhancing the canal's infrastructure. By supporting US firms, we reduce reliance on Chinese contractors and promote fair competition. 36:55 Daniel Maffei: Because the canal is essentially a waterway bridge over mountainous terrain above sea level, it does depend on large supplies of fresh water to maintain the full operations. Panama has among the world's largest annual rainfalls. Nonetheless, insufficient fresh water levels have occurred before in the canal's history, such as in the 1930s when the Madden Dam and Lake Alajuela were built to address water shortages. Since that time, the canal has undertaken several projects to accommodate larger, more modern ships. In the last couple of years, a trend of worsening droughts in the region, once again, has forced limits to the operations of the canal. Starting in June of 2023 the Panama Canal Authority employed draft restrictions and reduced the number of ships allowed to transit the canal per day. Now the Panama Canal limitations, in combination with the de facto closure of the Suez Canal to container traffic, has had serious consequences for ocean commerce, increasing rates, fees and transit times. 39:30 Daniel Maffei: Now, fortunately, Panama's 2024 rainy season has, for now, alleviated the most acute water supply issues at the canal, and normal transit volumes have been restored. That said, while the Panamanian government and Canal Authority have, with the advice of the US Army Corps of Engineers, developed credible plans to mitigate future water shortages, they also warned that it is likely that at least one more period of reduced transits will occur before these plans can be fully implemented. 41:55 Eugene Kontorovich: We shall see that under international law, each party to the treaty is entitled to determine for itself whether a violation has occurred. Now, in exchange for the United States ceding control of the canal which it built and maintained, Panama agreed to a special regime of neutrality. The essential features of this regime of neutrality is that the canal must be open to all nations for transit. That's Article Two. Equitable tolls and fees, Article Three. An exclusive Panamanian operation, Article Five. The prohibition of any foreign military presence, Article Five. Article Five provides that only Panama shall operate the canal. Testifying about the meaning of the treaty at the Senate ratification hearings, the Carter administration emphasized that this prohibits foreign operation of the canal, as well as the garrisoning of foreign troops. Now, Article Five appears to be primarily concerned about control by foreign sovereigns. If Panama signed a treaty with the People's Republic of China, whereby the latter would operate the canal on Panama's behalf, this would be a clear violation. But what if Panama contracted for port operations with a Chinese state firm, or even a private firm influenced or controlled in part by the Chinese government? The Suez Canal Company was itself, before being nationalized, a private firm in which the United Kingdom was only a controlling shareholder. Yet this was understood to represent British control over the canal. In other words, a company need not be owned by the government to be in part controlled by the government. So the real question is the degree of de jure or de facto control over a Foreign Sovereign company, and scenarios range from government companies in an authoritarian regime, completely controlled, to purely private firms in our open society like the United States, but there's many possible situations in the middle. The treaty is silent on the question of how much control is too much, and as we'll see, this is one of the many questions committed to the judgment and discretion of each party. Now turning to foreign security forces, the presence of third country troops would manifestly violate Article Five. But this does not mean that anything short of a People's Liberation Army base flying a red flag is permissible. The presence of foreign security forces could violate the regime of neutrality, even if they're not represented in organized and open military formations. Modern warfare has seen belligerent powers seek to evade international legal limitations by disguising their actions in civilian garb, from Russia's notorious little green men to Hamas terrorists hiding in hospitals or disguised as journalists. Bad actors seek to exploit the fact that international treaties focus on sovereign actors. Many of China's man made islands in the South China Sea began as civilian projects before being suddenly militarized. Indeed, this issue was discussed in the Senate ratification hearings over the treaty. Dean Rusk said informal forces would be prohibited under the treaty. Thus the ostensible civilian character of the Chinese presence around the canal does not, in itself, mean that it could not represent a violation of the treaty if, for example, these companies and their employees involved Chinese covert agents or other agents of the Chinese security forces. So this leads us to the final question, Who determines whether neutrality is being threatened or compromised? Unlike many other treaties that provide for third party dispute resolution, the neutrality treaty has no such provision. Instead, the treaty makes clear that each party determines for itself the existence of a violation. Article Four provides that each party is separately authorized to maintain the regime of neutrality, making a separate obligation of each party. The Senate's understanding accompanying to ratification also made clear that Article Five allows each party to take, quote, "unilateral action." Senator Jacob Javits, at the markup hearing, said that while the word unilateral is abrasive, we can quote, "decide that the regime of neutrality is being threatened and then act with whatever means are necessary to keep the canal neutral unilaterally." 46:35 Joseph Kramek: My name is Joe Kramek. I'm President and CEO of the World Shipping Council. The World Shipping Council is the global voice of liner shipping. Our membership consists of 90% of the world's liner shipping tonnage, which are container vessels and vehicle carriers. They operate on fixed schedules to provide our customers with regular service to ship their goods in ports throughout the world. 47:15 Joseph Kramek: As you have heard, using the Panama Canal to transit between the Atlantic and Pacific saves significant time and money. A typical voyage from Asia to the US or East Coast can be made in under 30 days using the canal, while the same journey can take up to 40 days if carriers must take alternate routes. From a commercial trade perspective, the big picture is this. One of the world's busiest trade lanes is the Trans Pacific. The Trans Pacific is cargo coming from and going to Asia via the United States. Focusing in a bit, cargo coming from Asia and bound for US Gulf and East Coast ports always transits the Panama Canal. Similarly, cargo being exported from US and East Coast ports, a large share of which are US Agricultural exports, like soybeans, corn, cotton, livestock and dairy also almost always transits the Panama Canal. The result is that 75% of Canal traffic originates in or is bound for the United States. 48:55 Joseph Kramek: We've talked about the drought in 2023 and the historic low water levels that it caused in Lake Gatún, which feeds the canal locks, a unique system that is a fresh water feed, as contrasted to an ocean to ocean system, which the French tried and failed, but which is actually active in the Suez Canal. These low water levels reduced transits from 36 transits a day to as low as 22 per day. Additionally, the low water levels required a reduction in maximum allowable draft levels, or the depth of the ship below the water line, which for our members reduced the amount of containers they could carry through the canal. This resulted in a 10% reduction in import volumes for US Gulf and East Coast ports, with the Port of Houston experiencing a 26.7% reduction. 51:10 Sen. Ted Cruz (R-TX): Are you aware of allegations from some vessel operators of disparate treatment such as sweetheart deals or favorable rebates by Panama for canal transits? Louis Sola: Thank you for the question, Mr. Chairman, we have become aware through some complaints by cruise lines that said that they were not getting a refund of their canal tolls. When we looked into this, we found a Panamanian Executive Order, Decree 73, that specifically says that if a cruise line would stop at a certain port, that they could be refunded 100% of the fees. And as far as I know, that's the only instant where that exists. 53:05 Sen. Ted Cruz (R-TX): So Panama was the very first Latin American country to join China's Belt and Road Initiative, and right now, China is building a fourth bridge across the Panama Canal for car traffic and light rail. Chairman Sola, why should Chinese construction of a bridge near Panama City concern the United States? Louis Sola: Mr. Chairman, we all saw the tragedy that happened here in the Francis Scott Key Bridge incident and the devastation that had happened to Baltimore. We also saw recently what happened in the Suez Canal, where we had a ship get stuck in there. It's not only the construction of the bridge, but it's a removal of a bridge, as I understand it, called the Bridge of the Americas. It was built in 1961 and that would paralyze cargo traffic in and out of the canals. 53:55 Sen. Ted Cruz (R-TX): Panama also recently renewed the concessions for two container ports to a Chinese company, Hutchison Ports PPC. Of course, Chinese companies are controlled by the Communist Party. How does China use control of those ports for economic gain? Louis Sola: Mr. Chairman, I am a regulator, a competition regulator. And the Chinese ports that you're referring to, let me put them into scope. The one on the Pacific, the Port of Balboa, is roughly the same size as the Port of Houston. They do about 4 million containers a year. They have about 28 game tree cranes. The one on the Atlantic is the same as my hometown in Miami, they do about 1 million containers. So where Roger Gunther in the Port of Houston generates about $1 billion a year and Heidi Webb in Miami does about $200 million, the Panama ports company paid 0 for 20 years on that concession. So it's really hard to compete against zero. So I think that's our concern, our economic concern, that we would have. Sen. Ted Cruz (R-TX): Commissioner Maffei, anything to add on that? Daniel Maffei: Yeah, I do too also think it is important. I would point out that you don't have to stop at either port. It's not like these two ports control the entrance to the canal. That is the Canal Authority that does control that. However, I think it's of concern. I would also point out that the Panamanian government thinks it's of concern too, because they're conducting their own audit of those particular deals, but we remain very interested as well. 56:25 Sen. Ted Cruz (R-TX): Would the facts discussed here be considered violations of the neutrality treaty in force right now between the United States and Panama? Eugene Kontorovich: So I think Senator, I think potentially they could, but it's impossible to say definitively without knowing more, in particular, about the degree of Chinese control and involvement in these companies. I think it's important to note that these port operation companies that operate the ports on both sides, when they received their first contract, it was just a few months before Hong Kong was handed over to China. In other words, they received them as British companies, sort of very oddly, just a few months before the handover. Now, of course, since then, Hong Kong has been incorporated into China, has been placed under a special national security regime, and the independence of those companies has been greatly abridged, to say nothing of state owned companies involved elsewhere in in the canal area, which raised significantly greater questions. Additionally, I should point out that the understandings between President Carter and Panamanian leader Herrera, which were attached to the treaty and form part of the treaty, provide that the United States can, quote, "defend the canal against any threat to the regime of neutrality," and I understand that as providing some degree of preemptive authority to intervene. One need not wait until the canal is actually closed by some act of sabotage or aggression, which, as we heard from the testimony, would be devastating to the United States, but there is some incipient ability to address potential violations. 58:10 Sen. Ted Cruz (R-TX): If the United States determines that Panama is in violation of the treaty, what is the range of remedies the United States would have for that treaty violation? Eugene Kontorovich: So I think it may be shocking to people to hear today, but when one goes over the ratification history and the debates and discussions in this body over this treaty, it was clear that the treaty was understood as giving both sides, separately, the right to resort to use armed force to enforce the provisions of the treaty. And it's not so surprising when one understands that the United States made an extraordinary concession to Panama by transferring this canal, which the United States built at great expense and maintained and operated to Panama, gratis. And in exchange, it received a kind of limitation, a permanent limitation on Panamanians sovereignty, that Panama agreed that the United States could enforce this regime of neutrality by force. Now, of course, armed force should never be the first recourse for any kind of international dispute and should not be arrived at sort of rationally or before negotiations and other kinds of good offices are exhausted, but it's quite clear that the treaty contemplates that as a remedy for violations. 1:03:20 Louis Sola: I believe that the security of the canal has always been understood to be provided by the United States. Panama does not have a military, and I always believed that there's been a close relationship with Southern Command that we would provide that. And it would be nice to see if we had a formalization of that in one way or another, because I don't believe that it's in the treaty at all. 1:05:05 Daniel Maffei: While we were down there, both of us heard, I think, several times, that the Panamanians would, the ones we talked to anyway, would welcome US companies coming in and doing a lot of this work. Frankly, their bids are not competitive with the Chinese bids. Frankly, they're not that existent because US companies can make more money doing things other places, but even if they were existent, it is difficult to put competitive bids when the Chinese bids are so heavily subsidized by China. 1:06:10 Sen. Ted Cruz (R-TX): What would China's incentive be to heavily subsidize those bids to undercut American companies and other companies? Daniel Maffei: Yeah, it's not a real short answer, but Senator, China's made no secret of its ambitious policies to gain influence of ports throughout the globe. It's invested in 129 ports in dozens of countries. It runs a majority of 17 ports, that does not include this Hong Kong company, right? So that's just directly Chinese-owned ports. So it has been a part of their Belt and Road strategy, whatever you want to call it, the Maritime Silk Road, for decades. So they believe that this influence, this investment in owning maritime ports is important to their economy. 1:07:05 Sen. Deb Fischer (R-NE): In 2021, Hutchison was awarded those two ports, Port Balboa and Port Cristobal, in a no-bid award process. Can you tell me, does the United States have any authority or recourse with the Panama Canal Authority under our current agreement with Panama to rebid those terminal concession contracts. And perhaps Mr. Kantorovich, that's more in your purview? Louis Sola: Senator, both of those ports were redone for 25 years, until 2047, I believe. And they have to pay $7 million is what the ongoing rate is for the Port of Houston- and the Port of Miami-sized concessions. Sen. Deb Fischer (R-NE): And it can't be rebid until after that date? Louis Sola: Well, I believe that that's what the comptroller's office is auditing both of those ports and that contract. That was done under the previous Panamanian administration. A new administration came in, and they called for an audit of that contract immediately. 1:20:10 Sen. Dan Sullivan (R-AK): Are the companies now controlling both sides of the Panama Canal, the Chinese companies, subject to the PRC national security laws that mandate cooperation with the military, with state intelligence agencies. Does anyone know that? Eugene Kontorovich: They're subject all the time. They're subject to those laws all the time by virtue of being Hong Kong companies. And you know, they face, of course, consequences for not complying with the wishes of the Chinese government. One of the arguments -- Sen. Dan Sullivan (R-AK): Wouldn't that be a violation of the treaty? And isn't that a huge risk to us right now that the Chinese -- Eugene Kontorovich: That is a threat to the neutrality -- Sen. Dan Sullivan (R-AK): If they invaded Taiwan, invaded the Philippines, they could go to these two companies saying, Hey, shut it down, make it hard, sink a ship in the canal. And wouldn't they be obligated to do that under Chinese law if they were ordered to by the PLA or the CCP? Eugene Kontorovich: I don't know if they'd be obligated, but certainly the People's Republic of China would have many tools of leverage and pressure on these companies. That's why the treaty specifically says that we can act not just to end actual obstructions to the canal. We don't have to wait until the canal is closed by hostile military action. Thatwould be a suicide pact, that would be catastrophic for us, but rather that we can respond at the inchoate, incipient level to threats, and then this is up to the president to determine whether this is significantly robust to constitute -- Sen. Dan Sullivan (R-AK): So aren't we kind of walking up to the idea of a suicide pact, because we've got two big Chinese companies on both ends of the Panama Canal, who, if there's a war in INDOPACOM, Taiwan that involves us and China, these companies would be obligated to do the bidding of the Chinese Communist Party and PLA? I mean, are we kind of walking up to a very significant national security threat already? Eugene Kontorovich: Yeah, certainly, there's a threat. And I think what makes the action of the Chinese government so difficult to respond to, but important to respond to, is that they conceal this in sort of levels of gray without direct control. Sen. Dan Sullivan (R-AK): Let me ask you on that topic, as my last question, Professor, let's assume that we find out. And again, it wouldn't be surprising. I think you can almost assume it that these two companies have Chinese spies or military officials within the ranks of the employees of the companies. Let's assume we found that out, somehow that becomes public. But I don't think it's a big assumption. It's probably true right now. So you have spies and military personnel within the ranks of these two companies that are controlling both ends of the Panama Canal for you, Professor, and Chairman Sola, wouldn't that be a blatant violation of Article Five of the neutrality treaty, if that were true, which probably is true? Eugene Kontorovich: Yeah, I do think it would be a clear violation. As former Secretary of State, Dean Ross said at the ratification hearings, informal forces can violate Article Five as well as formal forces. Sen. Dan Sullivan (R-AK): Is there any evidence of Chinese spies or other nefarious Chinese actors embedded in these companies? Louis Sola: Senator, we have no information of that. That's not under the purview of -- Sen. Dan Sullivan (R-AK): But you agree that would be a violation of Article Five of the neutrality treaty? Louis Sola: I do. 1:26:25 Daniel Maffei: Senator Sullivan was talking about Hutchison Ports. That's actually the same company that runs terminals on both ends of the canal. I am concerned about that. However, if we want to be concerned about that, all of us should lose a lot more sleep than we're losing because if there are spies there, then there might be spies at other Hutchinson ports, and there are other Hutchinson ports in almost every part of the world. They own the largest container port in the United Kingdom, Felix Dow, which is responsible for nearly half of Britain's container trade. They control major maritime terminals in Argentina, Australia, the Bahamas, Germany, Indonesia, Mexico, Myanmar, the Netherlands, South Korea and Tanzania. If owning and managing adjacent ports means that China somehow has operational control or strategic control over the Panama Canal, they also have it over the Suez, the Singapore Straits, the Mediterranean Sea and the English Channel. 1:35:45 Louis Sola: The fees that I think we are looking at, or have been looked at, the reason that we went there was because of the auctioning of the slots. And so what Panama did is they had a smaller percentage, maybe 20% allocation, and then they moved it up to 30% and 40% because it became a money maker for them. So as they were doing -- Sen. Marsha Blackburn (R-TN): Okay, let me interject here. The auctioning of the slots gives these the right to skip the queue? Louis Sola: Yes, ma'am. Sen. Marsha Blackburn (R-TN): Okay, so just for the record there. Continue. Louis Sola: So the auctioning of the slots. Under maritime law, it's first come first serve, but Panama has always put a certain percentage aside, and they started to put more and more. So we got a lot of complaints. We got a lot of complaints from LNG carriers that paid $4 million to go through, and we got a lot of complaints from agriculture that didn't have the money to pay to go through, because their goods were gonna go down. So if you look at the financial statements -- I'm a nerd, I look at financial statements of everybody -- the canal increased the amount of revenue that they had from about $500 million to $1.8 billion in the last three years just because of those fees. So this is what is very concerning to us. 1:39:20 Sen. Amy Klobuchar (D-MN): Do you know of any instances where the United States has been singled out or treated unfairly under the neutrality treaty in the operation of the canal? Daniel Maffei: I do not. I would add that one of the reasons why saying the US is disproportionately affected by raises in Canal fees and other kinds of fees at the canal is because the United States disproportionately utilizes the canal. 1:44:55 Louis Sola: We have a US port there, SSA, out of Washington State that I actually worked on the development of that many years ago, and helped develop that. That used to be a United States Navy submarine base, and we converted that. As far as the two ports that we have, they're completely different. One is a major infrastructure footprint, and also a container port that's moving 4 million containers a year. That's really phenomenal amount. That's more than Miami, Fort Lauderdale, and you've probably got to get Tampa and a little bit of Jacksonville in there to get that type of volume. And on the other side, we have a very small port, but it's a very strategic port on the Atlantic. So how are the operations done?I don't know how they don't make money. I mean, if you want to come right down to it, if they've been operating the port for 20 years, and they say that they haven't made any money, so they haven't been able to pay the government. That's what concerns me is I don't believe that we're on a level playing field with the American ports. 1:58:50 Eugene Kontorovich: I think the charges and fees are less of an issue because they don't discriminate across countries. We pay more because we use more, but it's not nationally discriminatory. 1:59:00 Eugene Kontorovich: The presence of Chinese companies, especially Chinese state companies, but not limited to them, do raise serious issues and concerns for the neutrality of the treaty. And I should point out, in relation to some of the earlier questioning, the canal, for purposes of the neutrality treaty, is not limited just to the actual locks of the canal and the transit of ships through the canal. According to Annex One, paragraph one of the treaty, it includes also the entrances of the canal and the territorial sea of Panama adjacent to it. So all of the activities we're talking about are within the neutrality regime, the geographic scope of the neutrality regime in the treaty. 2:00:30 Daniel Maffei: I actually have to admit, I'm a little confused as to why some of the senators asking these questions, Senator Blackburn, aren't more concerned about the biggest port in the United Kingdom being run by the Chinese. Petraeus in the port nearest Athens, one of the biggest ports in the Mediterranean, is not just run by a Chinese-linked company, it's run directly by a Chinese-owned company, and I was there. So you're on to something, but if you're just focusing on Panama, that's only part. 2:01:45 Louis Sola: About a year ago, when we were having this drought issue, there was also a lot of focus on Iran and how they were funding Hamas and the Houthis because they were attacking the Red Sea. What the United States has found is that Iranian vessels are sometimes flagged by Panama in order to avoid sanctions, so that they could sell the fuel that they have, and then they can take that money and then they can use it as they wish. Panama, at the time, had a very complicated process to de-flag the vessels. There was an investigation, there was an appeals process. By the time that OFAC or Treasury would go ahead and identify one of those vessels, by the time that they were doing the appeals and stuff like this, they've already changed flags to somewhere else. So when we went to Panama, we met with the Panamanian president, and I must say that we were very impressed, because he was 30 minutes late, but he was breaking relations with Venezuela at the time because the election was the day before. We explained to him the situation. The very next day, we met with the maritime minister, with US embassy personnel and Panama actually adjusted their appeals process so to make it more expedient, so if the United States or OFAC would come and say that this Iranian vessel is avoiding sanctions, now we have a process in place to go ahead and do that, and 53 vessels were de-flagged because of that. 2:06:05 Sen. John Curtis (R-UT): Is there any reason that China can't watch or do whatever they want from this bridge to get the intel from these containers? And does that concern anybody? Louis Sola: Well, it definitely concerns Southern Command, because they've brought it up on numerous occasions that there could be some sort of surveillance or something like that on the bridges. 2:20:30 Sen. Tim Sheehy (R-MT): We segregate ourselves artificially in a way that they do not. We segregate ourselves. Let's talk about military. Let's talk about intelligence. Let's talk about economics. They don't. China doesn't work that way. It's a whole of government approach. They don't draw a delineation between an economics discussion and a military one. And their attack may not look like Pearl Harbor. It may look like an everyday ship that decides, you know, it pulls into the locks and blows itself up. And now the locks are non-functional for our usage, and we can't support an inter ocean fleet transfer, and our ability to defend it, as you referred to Chairman, is now inhibited by the fact that we no longer have the military infrastructure around the canal that we did just as recently as 1999. 2:21:10 Sen. Tim Sheehy (R-MT): So from a commercial perspective, do the shipping companies have concerns over the security of the narrow waterways? We've the Strait to Malacca, we've got the Suez Canal, we've got Gibraltar, we've got Panama. Is that a concern that's thrown around in the boardrooms of the largest shipping corporations in the world? Joseph Kramek: Senator, I think it's something they think about every day. I mean, really, it's drawn into sharp relief with the Red Sea. It was what I call a pink flamingo. There's black swans that just come up and there's pink flamingos that you can see, but you don't act. But no one really thought a whole lot that one of the most important waterways in the world could be denied, and moreover, that it could be denied for such a sustained period. The good news is that -- Sen. Tim Sheehy (R-MT): And denied, I might add, by a disaffected non-state actor of Bedouins running around with rocket launchers, who also managed to beat us in a 20 year war in Afghanistan. My point to saying all this is we're just debating operational control of the canal, yet it seems very clear to all of us that a very simple act can debilitate the canal and eliminate our ability to use it in a matter of minutes with no warning, and we have no ability to intervene or stop that. To me, that means we do not have operational control of the canal. 2:30:40 Daniel Maffei: I will say that certainly we need to look at other kinds of ways to get US companies in positions where they can truly compete with the Chinese on some of these things. Blaming it all on Panama really misses the point. I've seen the same thing in Greece, where Greece didn't want to give the concession of its largest port to a Chinese company, but because of its financial difficulties, it was getting pressure from international organizations such the IMF, Europe and even maybe some of the United States to do so. So I just ask you to look at that. 2:31:20 Daniel Maffei: Panamanians are making far more on their canal than they ever have before. That's not necessarily a bad thing, as long as it's going to the right place. But where they're really making the money is on these auctions, and that is why it remains a concern of mine and I'm sure the chairman's. That is where we are looking at, potentially, using our authority under Section 19 of the Merchant Marine Act where we could, if we can show that it is a problem with the foreign trade of the US, it's interfering with foreign trade of the US, there are certain things that we can do. Senate Foreign Relations Committee January 15, 2024 Clips 4:01:40 Marco Rubio: The thing with Panama on the canal is not new. I visited there. It was 2016. I think I've consistently seen people express concern about it, and it's encapsulized here in quote after quote. Let me tell you the former US ambassador who served under President Obama said: "the Chinese see in Panama what we saw in Panama throughout the 20th century, a maritime and aviation logistics hub." The immediate past head of Southern Command, General Laura Richardson, said, "I was just in Panama about a month ago and flying along the Panama Canal and looking at the state owned enterprises from the People's Republic of China on each side of the Panama Canal. They look like civilian companies or state owned enterprises that could be used for dual use and could be quickly changed over to a military capability." We see questions that were asked by the ranking member in the house China Select Committee, where he asked a witness and they agreed that in a time of conflict, China could use its presence on both ends of the canal as a choke point against the United States in a conflict situation. So the concerns about Panama have been expressed by people on both sides of the aisle for at least the entire time that I've been in the United States Senate, and they've only accelerated further. And this is a very legitimate issue that we face there. I'm not prepared to answer this question because I haven't looked at the legal research behind it yet, but I'm compelled to suspect that an argument could be made that the terms under which that canal were turned over have been violated. Because while technically, sovereignty over the canal has not been turned over to a foreign power, in reality, a foreign power today possesses, through their companies, which we know are not independent, the ability to turn the canal into a choke point in a moment of conflict. And that is a direct threat to the national interest and security the United States, and is particularly galling given the fact that we paid for it and that 5,000 Americans died making it. That said, Panama is a great partner on a lot of other issues, and I hope we can resolve this issue of the canal and of its security, and also continue to work with them cooperatively on a host of issues we share in common, including what to do with migration. 4:38:35 Sen. Mike Lee (R-UT): Now, President Trump has recently talked a little bit about the fact that there are some questions arising about the status of the Panama Canal. When we look to the treaty at issue, the treaty concerning the permanent neutrality and operation of the Panama Canal, we're reminded that some things maybe aren't quite as they should be there right now. Given that the Chinese now control major ports at the entry and the exit to the canal, it seems appropriate to say that there's at least an open question. There's some doubt as to whether the canal remains neutral. Would you agree with that assessment? Marco Rubio: Yes. Here's the challenge. Number one, I want to be clear about something. The Panamanian government, particularly its current office holders, are very friendly to the United States and very cooperative, and we want that to continue, and I want to bifurcate that from the broader issue of the canal. Now I am not, President Trump is not inventing this. This is something that's existed now for at least a decade. In my service here, I took a trip to Panama in 2017. When on that trip to Panama in 2017 it was the central issue we discussed about the canal, and that is that Chinese companies control port facilities at both ends of the canal, the east and the west, and the concerns among military officials and security officials, including in Panama, at that point, that that could one day be used as a choke point to impede commerce in a moment of conflict. Going back to that I -- earlier before you got here, and I don't want to have to dig through this folder to find it again, but -- basically cited how the immediate past head of Southern Command, just retired general Richardson, said she flew over the canal, looked down and saw those Chinese port facilities, and said Those look like dual use facilities that in a moment of conflict, could be weaponized against us. The bipartisan China commission over in the House last year, had testimony and hearings on this issue, and members of both parties expressed concern. The former ambassador to Panama under President Obama has expressed those concerns. This is a legitimate issue that needs to be confronted. The second point is the one you touched upon, and that is, look, could an argument be made, and I'm not prepared to answer it yet, because it's something we're going to have to study very carefully. But I think I have an inkling of I know where this is going to head. Can an argument be made that the Chinese basically have effective control of the canal anytime they want? Because if they order a Chinese company that controls the ports to shut it down or impede our transit, they will have to do so. There are no independent Chinese companies. They all exist because they've been identified as national champions. They're supported by the Chinese government. And if you don't do what they want, they find a new CEO, and you end up being replaced and removed. So they're under the complete control of their government. This is a legitimate question, and one that Senators Risch had some insight as well. He mentioned that in passing that needs to be looked at. This is not a joke. The Panama Canal issue is a very serious one. 4:44:30 Marco Rubio: In 2016 and 2017 that was well understood that part of the investments they made in Panama were conditioned upon Panama's ability to convince the Dominican Republic and other countries to flip their recognition away from Taiwan. That happened. Jen Briney's Recent Guest Appearances Travis Makes Money: Give and Take: Music by Editing Production Assistance

Some sabre-rattling by Xi Jinping at US; a rebuilding plan for Gaza – an Arab alternative to Donald Trump; an Anglo-French problem as record number of migrants cross the channel. Adam Gilchrist shares details on these stories with Lester Kiewit.See omnystudio.com/listener for privacy information.

In 2015, Europe was in the grip of a migrant crisis, as more than one million people fled regions including the Middle East. Many set their sights on a new life in the UK. But, in order to get there, they had to cross the English Channel. One of the most common methods was to hide aboard vehicles destined for Britain at the French port city of Calais. This led to the creation of a squalid migrant camp outside Calais, known as the "Jungle". It was populated by seven to ten thousand people at its largest. Jean-Marc Puissesseau was head of the Port of Calais during the crisis. He speaks to Ben Henderson.Eye-witness accounts brought to life by archive. Witness History is for those fascinated by the past. We take you to the events that have shaped our world through the eyes of the people who were there. For nine minutes every day, we take you back in time and all over the world, to examine wars, coups, scientific discoveries, cultural moments and much more. Recent episodes explore everything from football in Brazil, the history of the ‘Indian Titanic' and the invention of air fryers, to Public Enemy's Fight The Power, subway art and the political crisis in Georgia. We look at the lives of some of the most famous leaders, artists, scientists and personalities in history, including: visionary architect Antoni Gaudi and the design of the Sagrada Familia; Michael Jordan and his bespoke Nike trainers; Princess Diana at the Taj Mahal; and Görel Hanser, manager of legendary Swedish pop band Abba on the influence they've had on the music industry. You can learn all about fascinating and surprising stories, such as the time an Iraqi journalist hurled his shoes at the President of the United States in protest of America's occupation of Iraq; the creation of the Hollywood commercial that changed advertising forever; and the ascent of the first Aboriginal MP.(Photo: Chris Patten hands over flag during Honk Kong handover ceremony. Credit: Guillaume Pinon/NurPhoto via Getty Images)

Towards the end of the March 3, 1975 issue of Sports Illustrated a reader wrote in on the exploits of a little known swimmer who had appeared in two issues of SI the previous month. The woman wrote, "Thank you for a beautifully written piece on an incredible woman. Lynne Cox. How refreshing it is to read a story written by a man (Sam Moses) about a woman that does not go on about the color of her hair or how she looked in her bathing suit." What was noticeable is that Miss Cox was wearing a bathing suit, but not a wetsuit... despite the obvious need for one as she was a long distance swimmer who sometimes swam in temps that were below freezing. When Lynne was 14, she and three other teammates swam the 31 miles it takes to cross the Catalina Island Channel... and that the beginning of a life like no other. She would go on to swim the English Channel, as well as a mile in 26 degree water in Antartica. Yes, you read that correctly... she swam for a mile in just bathing suit in below freezing temps. But her most famous swim was in 1987 when she crossed the Bering Strait... it took her over 2 hours to go from Little Diomede in Alaska to Big Diomede in the USSR in waters that were 38 degrees. She was trying to raise attention to how close the two Superpowers were in proximity and to help bring an end to the Cold War. President's Reagan and Gorbachev both toasted her on her amazing accomplishment. Cox is now 68 years old, and tells us how Russian doctors were prepared to help her immediately once she came ashore in the Soviet Union and how cardiac arrest was a real possibility. How the people of the islands were actually families who hadn't been able to communicate with each other in almost 50 years and began to rejoice and sing once she brought them together! She recalls a swim where she thought a shark might be in the water, but instead it was a pod of dolphins guiding her across the Cook Strait in New Zealand. She tells amazing stories because she has amazing stories to tell... and she does it on this weeks Past Our Prime podcast. You won't believe it unless you hear it. Subscribe to the show wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Bandleader and jazz saxophonist Emma Rawicz and the writer and composer Neil Brand join Jeffrey Boakye and Anna Phoebe as they add the next five tracks to the playlist. The journey takes them from Frank Gehry's Walt Disney Concert Hall in Los Angeles, across the English Channel in a rickety aeroplane, then right up to the moon with Les Paul and Mary Ford.Producer: Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:The Bucket's Got a Hole in it by Kid Ory Those Magnificent Men in their Flying Machines by Ron Goodwin Conversation by Joni Mitchell How High the Moon by Les Paul and Mary Ford Sweet Child O'Mine by Guns N' RosesOther music in this episode:Tamacún by Rodrigo y Gabriela Double Concerto for Two Pianos and Orchestra: Mvt 1 by Philip Glass, performed by Katia & Marielle Labèque My Bucket's Got a Hole In It by Hank Williams Bucket's Got a Hole In It by Louis Armstrong My Bucket's Got a Hole In It by Van Morrison 633 Squadron: Main Title Theme by Ron Goodwin Amassakoul by Tinariwen Some Unholy War by Amy Winehouse Didn't It Rain by Sister Rosetta Tharpe

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     Dad's Army   Dad's Army is a British television sitcom about the United Kingdom's Home Guard during the Second World War. It was written by Jimmy Perry and David Croft, and originally broadcast on BBC1 from 31 July 1968 to 13 November 1977. It ran for nine series and 80 episodes in total; a feature film released in 1971, a stage show and a radio version based on the television scripts were also produced. The series regularly gained audiences of 18 million viewers and is still shown internationally. The Home Guard consisted of local volunteers otherwise ineligible for military service, either because of age (hence the title Dad's Army), medical reasons or by being in professions exempt from conscription. Most of the platoon members in Dad's Army are over military age and the series stars several older British actors, including Arnold Ridley, John Laurie, Arthur Lowe and John Le Mesurier. Younger members of the cast included Ian Lavender, Clive Dunn (who, despite being one of the younger cast members, played the oldest guardsman, Lance Corporal Jones) and James Beck (who died suddenly during production of the sixth series in 1973). Other regular cast members included Frank Williams as the vicar, Edward Sinclair as the verger, and Bill Pertwee as the chief ARP warden. The series has influenced British popular culture, with its catchphrases and characters being widely known. The Radio Times magazine listed Captain Mainwaring's "You stupid boy!" among the 25 greatest put-downs on TV. A 2001 Channel 4 poll ranked Captain Mainwaring 21st on its list of the 100 Greatest TV Characters. In 2004, Dad's Army came fourth in a BBC poll to find Britain's Best Sitcom. It was placed 13th in a list of the 100 Greatest British Television Programmes, drawn up by the British Film Institute in 2000, and voted for by industry professionals. A second feature film of Dad's Army with a different cast was released in 2016. In 2019, UKTV recreated three missing episodes for broadcast in August that year on its Gold channel under the title Dad's Army: The Lost Episodes. It starred Kevin McNally and Robert Bathurst as Captain Mainwaring and Sergeant Wilson. Origins Co-writers David Croft and Jimmy Perry during a Dad's Army event at Bressingham Steam Museum, May 2011 Originally intended to be called The Fighting Tigers, Dad's Army was based partly on co-writer and creator Jimmy Perry's experiences in the Local Defence Volunteers (LDV, later known as the Home Guard) and highlighted a somewhat forgotten aspect of defence during the Second World War. Perry was only 16 when he joined the 10th Hertfordshire Battalion. His mother did not like him being out at night, and feared he might catch a cold; he partly resembled the character of Private Pike. An elderly lance corporal in the 10th Hertfordshire often referred to fighting under Kitchener against the "Fuzzy Wuzzies" (Hadendoa), and was the model for Lance Corporal Jones. Other influences included the work of comedians such as Will Hay, whose film Oh, Mr Porter! featured a pompous ass, an old man and a young man; together, this gave Perry the ideas for Mainwaring, Godfrey and Pike. Film historian Jeffrey Richards has cited Lancastrian comedian Robb Wilton as a key influence; Wilton portrayed a work-shy husband who joined the Home Guard in numerous comic sketches during World War II. Perry wrote the first script and sent it to David Croft while working as a minor actor in the Croft-produced sitcom Hugh and I, originally intending the role of the spiv, later called Walker, to be his own. Croft was impressed and sent the script to Michael Mills, the BBC's head of comedy, and the series was commissioned. In his book Dad's Army: The Story of a Classic Television Show, Graham McCann explains that the show owes much to Michael Mills. It was he who renamed the show Dad's Army. He did not like Brightsea-on-Sea, so the location was changed to Walmington-on-Sea. He was happy with the names for the characters Mainwaring, Godfrey and Pike, but not with other names, and he made suggestions: Private Jim Duck became James Frazer, Joe Fish became Joe Walker and Jim Jones became Jack Jones. He also suggested adding a Scot. Jimmy Perry had produced the original idea, but needed a more experienced partner to see it through, so Mills suggested David Croft and this launched the beginning of their professional association. When an episode was screened to members of the public to gauge audience reaction prior to broadcast of the first series, the majority of the audience thought it was very poor. The production team put the report containing the negative comments at the bottom of David Croft's in-tray. He only saw it several months later,[16] after the series had been broadcast and received a positive response. Situation The series is set in the fictional seaside town of Walmington-on-Sea, located on the south coast of England, not far from Eastbourne. The exterior scenes were mostly filmed in and around the Stanford Training Area (STANTA), near Thetford, Norfolk.[19] Walmington, and its Home Guard platoon, would be on the frontline in the event of a German invasion across the English Channel. The first series has a loose narrative thread, with Captain Mainwaring's platoon being formed and equipped, initially with wooden guns and LDV armbands, later on with full army uniforms; the platoon is part of the Queen's Own Royal West Kent Regiment. The first episode, "The Man and the Hour", begins with a scene set in the then-present day of 1968, in which Mainwaring addresses his old platoon as part of the contemporary '"I'm Backing Britain" campaign. The prologue opening was a condition imposed after initial concerns from Paul Fox, the BBC1 controller, that it belittled the efforts of the Home Guard. After Mainwaring relates how he had backed Britain in 1940, the episode proper begins; Dad's Army is thus told in flashback, although the final episode does not return to 1968. Later episodes are largely self-contained, albeit referring to previous events and with additional character development. As the comedy in many ways relies on the platoon's lack of participation in the Second World War, opposition to their activities must come from another quarter, and this is generally provided by Chief Air Raid Precautions (ARP) Warden Hodges, and sometimes by the verger of the local church (St Aldhelm's) or by Captain Square and the neighbouring Eastgate Home Guard platoon. The group, however, does have some encounters related to the enemy, such as downed German planes, a Luftwaffe pilot who parachutes into the town's clock tower, a U-boat crew and discarded parachutes that may have been German; a Viennese ornithologist appears in "Man Hunt" and an IRA suspect appears in "Absent Friends". The humour ranges from the subtle (especially the class-reversed relationship between grammar school-educated Mainwaring, the local bank manager, and public school-educated Wilson, his deputy at the bank) to the slapstick (the antics of the elderly Jones being a prime example). Jones had several catchphrases, including "Don't panic!" (while panicking himself), "They don't like it up 'em!", "Permission to speak, sir?", "Handy-hock!" and his tales about the "Fuzzy-Wuzzies". Mainwaring's catchphrase to Pike is "You stupid boy", which he uses in many episodes. Other cast members used catchphrases, including Sergeant Wilson, who regularly asked, "Do you think that's wise, sir?" when Captain Mainwaring made a suggestion. The early series occasionally included darker humour, reflecting that, especially early in the war, the Home Guard was woefully under-equipped but was still willing to resist the Wehrmacht. For instance, in the episode "The Battle of Godfrey's Cottage", the platoon believes the enemy has invaded Britain. Mainwaring, Godfrey, Frazer and Jones (along with Godfrey's sisters, who are completely unaware of the invasion) decide to stay at the cottage to delay the German advance, buying the regular army time to arrive with reinforcements; "It'll probably be the end of us, but we're ready for that, aren't we, men?" says Mainwaring. "Of course," replies Frazer. Characters Private Pike (Ian Lavender) ARP Warden Hodges (Bill Pertwee) Private Frazer (John Laurie) Private Godfrey (Arnold Ridley) Captain Mainwaring (Arthur Lowe) Private Walker (James Beck) Lance Corporal Jones (Clive Dunn) Sergeant Wilson (John Le Mesurier) Main characters Captain George Mainwaring  (Arthur Lowe), the pompous, if essentially brave and unerringly patriotic local bank manager. Mainwaring appointed himself leader of his town's contingent of Local Defence Volunteers. He had been a lieutenant in the First World War but is embarrassed by the fact that he never saw combat, only being sent to France in 1919 after the Armistice as part of the Army of Occupation in Germany. The character, along with Wilson, also appeared in the original pilot episode of the radio series It Sticks Out Half a Mile. Sergeant Arthur Wilson (John Le Mesurier), a diffident, upper-middle-class chief bank clerk who often quietly questions Mainwaring's judgement ("Do you think that's wise, sir?"). Wilson had actually served as a captain during the First World War, but he only reveals this in the final episode. He does not live with the Pike family, but is implied to be in a relationship with the widowed Mrs Pike. Wilson also appears in the later radio series It Sticks Out Half a Mile. Lance Corporal Jack Jones (Clive Dunn), the local butcher, born in 1870. Jones is an old campaigner who enlisted as a drummer boy at the age of 14 and participated, as a boy soldier, in the Gordon Relief Expedition of 1884–85 and, as an adult, in Kitchener's campaign in the Sudan in 1896–98. Jones also served during the Boer War and the Great War. He often suffers from the effects of malaria caught during one of his campaigns and has to be calmed during his "shudders". Often seen as fastidious and a worrier, he has a number of catchphrases, including "They don't like it up 'em!" and "Don't panic, don't panic!", which he says whilst panicking. Dunn was considerably younger than his character, being only 46 when the series began. This meant he often performed the physical comedy of the show, which some of the older cast members were no longer capable of. Private James Frazer (John Laurie), a dour Scottish former chief petty officer on HMS Defiant in the Royal Navy. He served at the Battle of Jutland as a ship's cook and also has a medal for having served on Shackleton's Antarctic expedition. He grew up on the Isle of Barra and is prone to theatrical poetry. In episode one, he states that he owns a philately shop, but subsequently his profession is changed to an undertaker. His catchphrase is "We're doomed. Doomed!" Private Joe Walker (James Beck), a black market spiv, Walker is one of only two able-bodied men of military age among the main characters (the other one being Private Pike). In the first episode, Walker claims he was not called up to the regular army because he was in a reserved occupation as a wholesale supplier. In one of the missing episodes, it is revealed that he was not called up because of an allergy to corned beef. Although always on the lookout to make money, Walker is also seen to support local charities, including a children's home. Following James Beck's death in 1973, Walker was written out of the series. Private Charles Godfrey (Arnold Ridley), a retired shop assistant who had worked at the Army & Navy store in London. He lives in Walmington with his elderly sisters and serves as the platoon's medical orderly. He has a weak bladder and often needs to "be excused". A conscientious objector during the First World War, he was nevertheless awarded the Military Medal for heroic actions as a combat medic during the Battle of the Somme. He also demonstrates bravery during his Home Guard service, particularly during the "Branded" episode in which Mainwaring, unconscious in a smoke-filled room, is rescued by Godfrey. Private Frank Pike (Ian Lavender), the youngest of the platoon. He is a cosseted, somewhat immature mother's boy, often wearing a thick scarf over his uniform to prevent illness and a frequent target for Mainwaring's derision ("You stupid boy!"). Pike is not called up to the regular army due to his rare blood group (in series eight, he is excused for this reason). He works in his day job as an assistant bank clerk for Mainwaring. He frequently addresses Sergeant Wilson as "Uncle Arthur". However, on the last day of filming, David Croft confirmed to Lavender that Wilson was in fact Pike's father. Pike would later appear in the radio series It Sticks Out Half a Mile. Supporting characters Chief ARP Warden William Hodges (Bill Pertwee), the platoon's major rival and nemesis. He calls Mainwaring "Napoleon". Mainwaring looks down on him as the local greengrocer and dislikes that Hodges saw active service in the First World War. As an Air Raid Precautions (ARP) warden, he is always demanding that people "Put that light out!". He often calls the platoon "Ruddy hooligans!". The character of Hodges would later appear in the radio series It Sticks Out Half a Mile. Reverend Timothy Farthing (Frank Williams), the effete, petulant vicar of St Aldhelm's Church. He reluctantly shares his church hall and office with the platoon. In several episodes of the series, it was implied that the character was a non-active closet gay. Maurice Yeatman (Edward Sinclair), the verger at St Aldhelm's Church and Scoutmaster of the local Sea Scout troop. He is often hostile to the platoon while frequently sycophantic towards the vicar, who often struggles to tolerate him and frequently employs the catchphrase "Oh do be quiet, Mr Yeatman!". He often sides with Hodges to undermine the platoon's activities. Mrs Mavis Pike (Janet Davies), Pike's overbearing widowed mother, who is often implied to be in a relationship with Sergeant Wilson. Liz Frazer replaced Janet Davies in the 1971 film version. Mrs Fox (Pamela Cundell), a glamorous widow. There is a mutual attraction with Corporal Jones and the couple marry in the last episode. Illicit little "extras" are passed across the counter on her regular visits to Jones's butcher's shop and she helps the platoon with official functions. In the episode "Mum's Army", she gives her first name as Marcia, but by the final episode she is addressed as Mildred. Colonel Pritchard (Robert Raglan), Captain Mainwaring's superior officer. A stern, serious man, he unexpectedly appeared to admire Mainwaring, frequently commenting on his successes and warning people not to underestimate him. Private Sponge (Colin Bean), a sheep farmer. He leads the members of the platoon's second section (the first section being led by Corporal Jones) and thus had only occasional speaking parts, although he became more prominent in later series. He appeared in 76 of the 80 episodes. Mr Claude Gordon (Eric Longworth), the Walmington town clerk often involved when the platoon is taking part in local parades and displays. Although generally civil with Captain Mainwaring and his men, he is an officious and somewhat pompous individual, and Hodges tends to use him to try and interfere with the platoon's activities. Private Cheeseman (Talfryn Thomas), a Welshman who works for the town newspaper. He joined the Walmington-on-Sea platoon during the seventh series only after the sudden death of James Beck, who played Private Walker. Captain Square (Geoffrey Lumsden), the pompous commanding officer of the rival Eastgate platoon, and a former regular soldier who served with Lawrence of Arabia during the First World War. He is frequently at loggerheads with Mainwaring (whose name he persists in mispronouncing as spelt, "Main-wearing", instead of the correct "Mannering") and has the catchphrase "You blithering idiot!". Mrs Yeatman (Olive Mercer), the somewhat tyrannical wife of Maurice Yeatman, the verger. Over the course of the series, her first name is given as either Beryl, Anthea or Tracey. Mr Sidney Bluett (Harold Bennett), an elderly local man who is occasionally involved with the antics of both the platoon and Hodges. He and Mrs Yeatman are implied to be having an affair. Miss Janet King (Caroline Dowdeswell), a clerk at Swallow Bank who works with Mainwaring, Wilson and Pike in the first series. Edith Parish (Wendy Richard), also called Shirley, a cinema usherette and girlfriend of Private Walker. Dolly (Amy Dalby and Joan Cooper) and Cissy Godfrey (Nan Braunton and Kathleen Saintsbury), Private Godfrey's spinster sisters, who reside with him at their cottage. Elizabeth Mainwaring (unseen character), George Mainwaring's reclusive, paranoid and domineering wife who is never seen onscreen in the TV series. (In the episode "A Soldier's Farewell" her "shape" is seen sleeping in the bunk above the captain while in their Anderson Shelter.) Her marriage to George is not a happy one and he does his best to avoid her at any opportunity. They have no children. Mrs Mainwaring had a significant on screen role in the 2016 film. Other actors who appeared in small roles include Timothy Carlton, Don Estelle, Nigel Hawthorne, Geoffrey Hughes, Michael Knowles, John Ringham, Fulton Mackay, Anthony Sagar, Anthony Sharp, Carmen Silvera and Barbara Windsor. Larry Martyn appeared as an unnamed private in four episodes, and later took over the part of Walker in the radio series following the death of James Beck. The former cricketer Fred Trueman appeared in "The Test". Opening and closing credits The show's opening titles were originally intended to feature footage of refugees and Nazi troops, to illustrate the threat faced by the Home Guard. Despite opposition from the BBC's head of comedy Michael Mills, Paul Fox, the controller of BBC1, ordered that these be removed on the grounds that they were offensive. The replacement titles featured the animated sequence of swastika-headed arrows approaching Britain.[25] Originally in black and white, the opening titles were updated twice; firstly in series three, adding colour and improved animation, and once again in series six, which made further improvements to the animation. There were two different versions of the closing credits used in the show. The first version, used in series one and two, simply showed footage of the main cast superimposed over a still photograph, with the crew credits rolling over a black background. The better-known closing credits, introduced in series three, were a homage to the end credits of The Way Ahead (1944), a film which had covered the training of a platoon during the Second World War. In both instances, each character is shown as they walk across a smoke-filled battlefield. One of the actors in Dad's Army, John Laurie, also appeared in that film, and his performance in the end credits of The Way Ahead appears to be copied in the sitcom. Coincidentally, the film's lead character (played by David Niven) is named Lieutenant Jim Perry. Following this sequence, the end credits roll, and the platoon is shown in a wide angle shot as, armed, they run towards the camera, while bombs explode behind them. As the credits come to an end, the platoon run past the camera and the all clear siren rings, before the screen fades to black. Music The show's theme tune, "Who Do You Think You Are Kidding, Mr Hitler?" was Jimmy Perry's idea, written especially for the show and intended as a gentle pastiche of wartime songs. The other songs were authentic 1940s music recordings. Perry wrote the lyrics and composed the music with Derek Taverner. Perry persuaded one of his childhood idols, wartime entertainer Bud Flanagan, to sing the theme for 100 guineas (equivalent to £2,400 in 2023). Flanagan died less than a year after the recording. At the time it was widely believed to be a wartime song. The music over the opening credits was recorded at Riverside Studios, Flanagan being accompanied by the Orchestra of the Band of the Coldstream Guards. The version played over the opening credits differs slightly from the full version recorded by Flanagan; an edit removes, for timing reasons, two lines of lyric with the "middle eight" tune: "So watch out Mr Hitler, you have met your match in us/If you think you can crush us, we're afraid you've missed the bus." (The latter lyric is a reference to a speech by Neville Chamberlain.) Bud Flanagan's full version appears as an Easter egg on the first series DVD release and on the authorised soundtrack CD issued by CD41. Arthur Lowe also recorded a full version of the theme. The closing credits feature an instrumental march version of the song played by the Band of the Coldstream Guards conducted by Captain (later Lieutenant Colonel) Trevor L. Sharpe, ending with the air-raid warning siren sounding all-clear. It is accompanied by a style of credits that became a trademark of David Croft: the caption "You have been watching", followed by vignettes of the main cast. The series also contains genuine wartime and period songs between scenes, usually brief quotations that have some reference to the theme of the episode or the scene. Many appear on the CD soundtrack issued by CD41, being the same versions used in the series. Episodes List of Dad's Army episodes The television programme lasted nine series and was broadcast over nine years, with 80 episodes in total, including three Christmas specials and an hour-long special. At its peak, the programme regularly gained audiences of 18.5 million.[35] There were also four short specials broadcast as part of Christmas Night with the Stars in 1968, 1969, 1970 and 1972; one of which was also restaged as part of the Royal Variety Performance 1975. Missing episodes Main article: Dad's Army missing episodes The first two series were recorded and screened in black-and-white, while series three to nine were recorded and screened in colour. Even so, one episode in series three, "Room at the Bottom", formerly survived only as a 16mm black-and-white film telerecording, made for overseas sales to countries not yet broadcasting in colour; and remains on the official DVD releases in this form. This episode has benefited from colour recovery technology, using a buried colour signal (chroma dots) in the black-and-white film print to restore the episode to colour and was transmitted on 13 December 2008 on BBC Two. The newly restored colour version of "Room at the Bottom" was eventually made commercially available in 2023, when it appeared as an extra on the DVD release Dad's Army: The Missing Episodes, with a specially filmed introduction by Ian Lavender. Dad's Army was less affected than most from the wiping of videotape, but three second-series episodes remain missing: episode nine "The Loneliness of the Long Distance Walker", episode eleven "A Stripe for Frazer" and episode 12 "Under Fire". (All three missing episodes were among those remade for BBC Radio with most of the original cast, adapted from the original TV scripts. Audio recordings of all three were included as bonus features on The Complete Series DVD Collection.) Two further series two episodes, "Operation Kilt" and "The Battle of Godfrey's Cottage", were thought lost until 2001.[8] Two of the three missing episodes have since been performed as part of the latest stage show. In 2008, soundtracks of the missing episode "A Stripe for Frazer" and the 1968 Christmas Night with the Stars segment "Present Arms" were recovered. The soundtrack of "A Stripe for Frazer" has been mixed with animation to replace the missing images.[36] The audio soundtrack for the "Cornish Floral Dance" sketch, from the 1970 episode of Christmas Night with the Stars, has also been recovered. Dad's Army: The Lost Episodes (2019) In 2018, UKTV announced plans to recreate the three missing episodes for broadcast on its Gold channel. Mercury Productions, the company responsible for Saluting Dad's Army, Gold's 50th anniversary tribute series, produced the episodes, which were directed by Ben Kellett. The recreations were broadcast in August 2019, coinciding with the 50th anniversary of their original broadcast by the BBC.[37] Kevin McNally and Robert Bathurst were the initial casting announcements as Captain Mainwaring and Sergeant Wilson, with Bernard Cribbins portraying Private Godfrey. The full cast was announced in January 2019, with McNally, Bathurst and Cribbins joined by Kevin Eldon, Mathew Horne, David Hayman and Tom Rosenthal. However, Bernard Cribbins subsequently withdrew from the project, and was replaced as Godfrey by Timothy West. Cast Kevin McNally as Captain Mainwaring Robert Bathurst as Sergeant Wilson Kevin Eldon as Lance Corporal Jones David Hayman as Private Frazer Mathew Horne as Private Walker Timothy West as Private Godfrey Tom Rosenthal as Private Pike Tracy-Ann Oberman as Mrs Pike Simon Ludders as ARP Warden Hodges David Horovitch as Corporal-Colonel Square John Biggins as the Verger Films 1971 film Main article: Dad's Army (1971 film) In common with many British sitcoms of that era, Dad's Army was spun-off as a feature film which was released in 1971. Backers Columbia Pictures imposed arbitrary changes, such as recasting Liz Fraser as Mavis Pike and filming locations in Chalfont St Giles, Buckinghamshire, rather than Thetford in Norfolk, which made the cast unhappy. The director, Norman Cohen, whose idea it was to make the film, was nearly sacked by the studio.: 168  Jimmy Perry and David Croft wrote the original screenplay. This was expanded by Cohen to try to make it more cinematic; Columbia executives made more changes to plot and pacing. As finally realised, two-thirds of the film consists of the creation of the platoon; this was the contribution of Perry and Croft, and differs in a number of ways from the formation of the platoon as seen in the first series of the television version. The final third shows the platoon in action, rescuing hostages from the church hall where they had been held captive by the crewmen of a downed German aircraft. Neither the cast nor Perry and Croft were happy with the result. Perry argued for changes to try to reproduce the style of the television series, but with mixed results. Filming took place from 10 August to 25 September 1970 at Shepperton Studios and on location. After shooting the film, the cast returned to working on the fourth television series. The film's UK première was on 12 March 1971 at the Columbia Theatre, London. Critical reviews were mixed, but it performed well at the UK box-office. Discussions were held about a possible sequel, to be called Dad's Army and the Secret U-Boat Base, but the project never came to fruition.  Michael Gambon as Private Godfrey (2014) 2016 film Main article: Dad's Army (2016 film) A second film, written by Hamish McColl and directed by Oliver Parker, was released in 2016. The cast included Toby Jones as Captain Mainwaring, Bill Nighy as Sergeant Wilson, Tom Courtenay as Lance Corporal Jones, Michael Gambon as Private Godfrey, Blake Harrison as Private Pike, Daniel Mays as Private Walker and Bill Paterson as Private Frazer. Catherine Zeta-Jones, Sarah Lancashire and Mark Gatiss also featured. The film was primarily shot on location in Yorkshire. Filming took place on the beach at North Landing, Flamborough Head, Yorkshire and at nearby Bridlington. It opened in February 2016 to mainly negative reviews. Stage show Main article: Dad's Army (stage show) A poster advertising the stage show In 1975, Dad's Army transferred to the stage as a revue, with songs, familiar scenes from the show and individual "turns" for cast members. It was created by Roger Redfarn, who shared the same agent as the series' writers. Most of the principal cast transferred with it, with the exception of John Laurie, who was replaced by Hamish Roughead.[8] Following James Beck's death two years earlier, Walker was played by John Bardon.[8] Dad's Army: A Nostalgic Music and Laughter Show of Britain's Finest Hour opened at Billingham in Teesside on 4 September 1975 for a two-week tryout. After cuts and revisions, the show transferred to London's West End and opened at the Shaftesbury Theatre on 2 October 1975. On the opening night there was a surprise appearance by Chesney Allen, singing the old Flanagan and Allen song Hometown with Arthur Lowe. The show ran in the West End until 21 February 1976, disrupted twice by bomb scares and then toured the country until 4 September 1976. Clive Dunn was replaced for half the tour by Jack Haig (David Croft's original first choice for the role of Corporal Jones on television). Jeffrey Holland, who went on to star in several later Croft sitcoms, also had a number of roles in the production. The stage show, billed as Dad's Army—The Musical, was staged in Australia and toured New Zealand in 2004–2005, starring Jon English. Several sections of this stage show were filmed and have subsequently been included as extras on the final Dad's Army DVD. In April 2007, a new stage show was announced with cast members including Leslie Grantham as Private Walker and Emmerdale actor Peter Martin as Captain Mainwaring. The production contained the episodes "A Stripe for Frazer", "The Loneliness of the Long Distance Walker", "Room at the Bottom" and "The Deadly Attachment". In August 2017, a new two-man stage show titled, Dad's Army Radio Hour, opened at the Edinburgh Festival Fringe It starred David Benson and Jack Lane. Between them, the pair voiced the entire cast of Dad's Army, including incidental characters. The episodes adapted from the original radio scripts were "The Deadly Attachment", "The Day the Balloon Went Up", "Brain Versus Brawn", "My British Buddy", "Round and Round Went the Great Big Wheel" and "Mum's Army". The production featured three episodes not adapted for the radio series "When You've Got to Go", "My Brother and I" and "Never Too Old". The show was well received by critics and the David Croft estate for its respectful and uncanny performances. In 2019, the production changed its name to Dad's Army Radio Show and continued to tour nationally throughout the UK until the end of 2021. Radio series List of Dad's Army radio episodes The majority of the television scripts were adapted for BBC Radio 4 with the original cast, although other actors played Walker after James Beck's death (which took place soon after recording and before transmission of the first radio series). Harold Snoad and Michael Knowles were responsible for the adaptation,[8] while wartime BBC announcer John Snagge set the scene for each episode. Different actors were used for some of the minor parts: for example Mollie Sugden played the role of Mrs Fox, and Pearl Hackney played Mrs Pike. The first episode was based on the revised version of events seen in the opening of the film version, rather than on the television pilot. The series ran for three series and 67 episodes from 1974-76.[8] The entire radio series has been released on CD. Knowles and Snoad developed a radio series, It Sticks Out Half a Mile, which followed Sergeant Wilson, Private Pike and Warden Hodges's attempts to renovate a pier in the fictional town of Frambourne-on-Sea following the end of the war. It was originally intended to star Arthur Lowe and John Le Mesurier, but Lowe died after recording the pilot episode in 1981. In consequence, Bill Pertwee and Ian Lavender were brought in to replace him. In the event the revised cast recorded a 13-episode series. John Le Mesurier died in November 1983, making another series impossible. The last radio recording of Dad's Army occurred in 1995, when Jimmy Perry wrote a radio sketch entitled The Boy Who Saved England for the "Full Steam A-Hudd" evening broadcast on BBC Radio 2, transmitted on 3 June 1995 on the occasion of the closure of the BBC's Paris studios in Lower Regent Street. It featured Ian Lavender as Pike, Bill Pertwee as Hodges, Frank Williams as the Vicar and Jimmy Perry as General Haverlock-Seabag. American adaptation A pilot episode for an American remake called The Rear Guard, adapted for American viewers by Arthur Julian, was produced by the ABC and broadcast on 10 August 1976, based on the Dad's Army episode "The Deadly Attachment".[8] Set in Long Island, the pilot starred Cliff Norton as Captain Rosatti, Lou Jacobi as Sergeant Raskin and Eddie Foy Jr. as Lance Corporal Wagner. The pilot was considered a failure, so the original tapes were wiped. However, director Hal Cooper kept a copy of the pilot, which was returned to several collectors in 1998. Though further storylines were planned, the series failed to make it past the pilot stage. Other appearances Lowe, Le Mesurier, Laurie, Beck, Ridley and Lavender (wearing Pike's signature scarf) appeared as guests in the 22 April 1971 edition of The Morecambe & Wise Show on BBC2 in the "Monty on the Bonty" sketch, with Lowe as Captain Bligh and the others as crewmen on HMS Bounty. Lowe, Le Mesurier and Laurie again made a cameo appearance as their Dad's Army characters in the 1977 Morecambe & Wise Christmas Special. While Elton John is following incomprehensible instructions to find the BBC studios, he encounters them in a steam room. On leaving, Mainwaring calls him a "stupid boy". Arthur Lowe twice appeared on the BBC children's programme Blue Peter. The first time, in 1973, was with John Le Mesurier, in which the two appeared in costume and in character as Captain Mainwaring and Sergeant Wilson. Together they viewed and discussed a mural painted by schoolchildren, featuring the characters from the show at a Christmas party, among whom was Mainwaring's unseen wife Elizabeth – or rather, what the children thought she looked like (Mainwaring remarks "Good grief. What a remarkable likeness!"). Arthur Lowe made a second appearance as Captain Mainwaring on Blue Peter with the Dad's Army van, which would appear in the forthcoming London-Brighton run, and showed presenter John Noakes the vehicle's hidden anti-Nazi defences.[29][59] Later that year, Lowe, Le Mesurier, Dunn, Lavender and Pertwee, along with Jones's van, appeared in character at the finish of the 1974 London to Brighton Veteran Car Run. The cast appeared in a 1974 public information film, in character but set in the modern day, in which the platoon demonstrated how to cross the road safely at Pelican crossings. Lowe and Le Mesurier made a final appearance as their Dad's Army characters for a 1982 television commercial advertising Wispa chocolate bars. Clive Dunn made occasional appearances as Lance Corporal Jones at 1940s themed events in the 1980s and 1990s and on television on the BBC Saturday night entertainment show Noel's House Party on 27 November 1993. Awards During its original television run, Dad's Army was nominated for multiple British Academy Television Awards, although only won "Best Light Entertainment Programme" in 1971. It was nominated as "Best Situation Comedy" in 1973, 1974 and 1975. In addition, Arthur Lowe was frequently nominated for "Best Light Entertainment Performance" in 1970, 1971, 1973, 1975 and 1978. In 2000, the show was voted 13th in a British Film Institute poll of industry professionals of the 100 Greatest British Television Programmes. In 2004, championed by Phill Jupitus, it came fourth in the BBC poll to find Britain's Best Sitcom with 174,138 votes. Legacy Statue of Captain Mainwaring, erected in Thetford in June 2010 In June 2010, a statue of Captain Mainwaring was erected in the Norfolk town of Thetford where most of the exteriors for the TV series were filmed. The statue features Captain Mainwaring sitting to attention on a simple bench in Home Guard uniform, with his swagger stick across his knees. The statue is mounted at the end of a winding brick pathway with a Union Flag patterned arrowhead to reflect the opening credits of the TV series and the sculpture has been designed so that members of the public can sit beside Captain Mainwaring and have their photograph taken. The statue was vandalised not long after the unveiling by a 10-year-old boy, who kicked it for ten minutes and broke off the statue's glasses, throwing them into a nearby river. The statue has since been fixed. Several references to Dad's Army have been made in other television series. In a 1995 episode of Bottom, titled "Hole", Richie shouts Lance Corporal Jones's catchphrase while stuck up a Ferris wheel set to be demolished the following day. The British sitcom Goodnight Sweetheart paid tribute to Dad's Army in episode one of its second series in 1995, "Don't Get Around Much Any More". Here, lead character Gary Sparrow (Nicholas Lyndhurst) – a time-traveller from the 1990s – goes into a bank in 1941 and meets a bank manager named Mainwaring (Alec Linstead) and his chief clerk, Wilson (Terrence Hardiman), both of whom are in the Home Guard. When he hears the names Mainwaring and Wilson, Gary begins singing the Dad's Army theme song.[72] In addition, a brief visual tribute to Dad's Army is made at the start of the episode "Rag Week" from Ben Elton's 1990s sitcom The Thin Blue Line: a shopfront bears the name "Mainwaring's". In June 2018 the Royal Mail issued a set of eight stamps, featuring the main characters and their catchphrases, to mark the comedy's 50th anniversary. In 2020, Niles Schilder, for the Dad's Army Appreciation Society, wrote four short scripts which detailed how the characters from the series would have, in the author's opinion, dealt with the events of that year. Titles of the scripts included Dad's Army Negotiates Brexit and An Unauthorised Gathering. Cultural influence A pub in Shoeburyness named (albeit incorrectly) after Arthur Lowe's character The characters of Dad's Army and their catchphrases are well known in the UK due to the popularity of the series when originally shown and the frequency of repeats. Jimmy Perry recalls that before writing the sitcom, the Home Guard was a largely forgotten aspect of Britain's defence in the Second World War, something which the series rectified.  In a 1972 Radio Times interview, Arthur Lowe expressed surprise at the programme's success: We expected the show to have limited appeal, to the age group that lived through the war and the Home Guard. We didn't expect what has happened – that children from the age of five upwards would enjoy it too. By focusing on the comic aspects of the Home Guard in a cosy south coast setting, the television series distorted the popular perception of the organisation. Its characters represented the older volunteers within the Home Guard, but largely ignored the large numbers of teenagers and factory workers who also served. Accounts from Home Guard members and their regimental publications inspired Norman Longmate's history The Real Dad's Army (1974). Media releases Main articles: List of Dad's Army books and memorabilia and List of Dad's Army audio releases The first DVD releases of Dad's Army were two "best of" collections, released by the BBC and distributed by 2 Entertain, in October 2001 and September 2002. The first series and the surviving episodes of the second series, along with the documentary Dad's Army: Missing Presumed Wiped, were released in September 2004,[80] while the final series was released in May 2007.[81] In November 2007, the final episodes, the three specials "Battle of the Giants!", "My Brother and I" and "The Love of Three Oranges", were released, along with Dad's Army: The Passing Years documentary, several Christmas Night with the Stars sketches, and excerpts from the 1975-76 stage show.[82] From the third series DVD, We Are the Boys..., a short individual biographical documentary about the main actors and the characters they portrayed on the programme, was included as a special feature. The Columbia film adaptation is separately available; as this is not a BBC production, it is not included in the box set. In 1973 the series was adapted into a comic strip, drawn by Bill Titcombe, which was published in daily newspapers in the UK. These cartoon strips were subsequently collected together and published in book form, by Piccolo Books, in paperback. 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 #dadsarmy   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 affil

In 1996, fishermen pulled the body of a man out the English Channel. An inscription on his Rolex watch led police to believe he was Ronald Platt, who according to his friend, David Davis, had left the UK for France to work as a TV repairman. Though the particulars of how Platt wound up in the sea remained unclear, investigators were ready to close the case. They just needed to retrieve some of his belongings from Davis's home. But when a detective accidentally knocked on the wrong door, the neighbor gave some information that turned the case on its head.The latest season of the CBC Podcasts series “Uncover: Sea of Lies” looks into the case of a deadly conman who was among Interpol's top fugitives. Host Sam Mullins from “Wild Boys” walks us through the investigation's many twists and turns to see how a nearly perfect crime came undone. OUR SPOILER-FREE REVIEWS OF "UNCOVER: SEA OF LIES" BEGIN IN THE FINAL TEN MINUTES OF THE EPISODE. For exclusive podcasts and more, sign up at Patreon.Sign up for our newsletter at crimewriterson.com.

In 2007 a once-in-a-lifetime cyclone approaches the UK. Royal Navy search & rescue diver, Jay O'Donnell, finds himself in the eye of the storm. A tiny lifeboat stuffed with crewmen is at the mercy of the furious sea. As Jay flies in to help, it soon becomes clear this mission is beyond anything he's ever encountered. And if he's to save these 26 souls, as things go from bad to worse, Jay must also find a way to survive himself… A Noiser production, written by Roger Morris. For ad-free listening, bonus material and early access to new episodes, join Noiser+. Click the Noiser+ banner to get started. Or, if you're on Spotify or Android, go to noiser.com/subscriptions If you have an amazing survival story of your own that you'd like to put forward for the show, let us know. Drop us an email at support@noiser.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, Catholic Pilgrims. Who's ready to sail back across the ocean with Mother Cabrini? My gosh, it's only been a little less than four months and Mother Cabrini is headed back across.  It's now August of 1890. She just got to NY at the end of April 1890, so very little time has passed. This voyage is from New York to Havre, France. I went to look up Havre and it is a major port city, which makes sense seeing as Mother is boarding a ship. It sits right on the English Channel across from England and is almost directly below London on a map.  You may be saying to yourself, “But we just got to New York! I need a rest!” But, there is very little rest in a missionary's life and, so, we must go with Mother Cabrini and her Sisters back across the ocean.  Let's open to page 35 and begin. 

The final episode of Season Four is with a young man who has written himself firmly into the record books. Brian Foster, the 16 year old who in 2024 became the first man (second person) to swim the North Channel Double and also becoming then youngest ever soloist in the process. His double took him a remarkable 24 hours and 50 minutes... He also swam the English Channel and Catalina in preparation for this remarkable achievement. We chat all things Sandy Cove, swimming proper sets in the sea all year round and generally what makes this young man so special.Season 4 is in collaboration with Ocean Lube, the ocean-friendly anti-chafing skin cream that saves your skin and protects our oceans.

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     Dad's Army   Dad's Army is a British television sitcom about the United Kingdom's Home Guard during the Second World War. It was written by Jimmy Perry and David Croft, and originally broadcast on BBC1 from 31 July 1968 to 13 November 1977. It ran for nine series and 80 episodes in total; a feature film released in 1971, a stage show and a radio version based on the television scripts were also produced. The series regularly gained audiences of 18 million viewers and is still shown internationally. The Home Guard consisted of local volunteers otherwise ineligible for military service, either because of age (hence the title Dad's Army), medical reasons or by being in professions exempt from conscription. Most of the platoon members in Dad's Army are over military age and the series stars several older British actors, including Arnold Ridley, John Laurie, Arthur Lowe and John Le Mesurier. Younger members of the cast included Ian Lavender, Clive Dunn (who, despite being one of the younger cast members, played the oldest guardsman, Lance Corporal Jones) and James Beck (who died suddenly during production of the sixth series in 1973). Other regular cast members included Frank Williams as the vicar, Edward Sinclair as the verger, and Bill Pertwee as the chief ARP warden. The series has influenced British popular culture, with its catchphrases and characters being widely known. The Radio Times magazine listed Captain Mainwaring's "You stupid boy!" among the 25 greatest put-downs on TV. A 2001 Channel 4 poll ranked Captain Mainwaring 21st on its list of the 100 Greatest TV Characters. In 2004, Dad's Army came fourth in a BBC poll to find Britain's Best Sitcom. It was placed 13th in a list of the 100 Greatest British Television Programmes, drawn up by the British Film Institute in 2000, and voted for by industry professionals. A second feature film of Dad's Army with a different cast was released in 2016. In 2019, UKTV recreated three missing episodes for broadcast in August that year on its Gold channel under the title Dad's Army: The Lost Episodes. It starred Kevin McNally and Robert Bathurst as Captain Mainwaring and Sergeant Wilson. Origins Co-writers David Croft and Jimmy Perry during a Dad's Army event at Bressingham Steam Museum, May 2011 Originally intended to be called The Fighting Tigers, Dad's Army was based partly on co-writer and creator Jimmy Perry's experiences in the Local Defence Volunteers (LDV, later known as the Home Guard) and highlighted a somewhat forgotten aspect of defence during the Second World War. Perry was only 16 when he joined the 10th Hertfordshire Battalion. His mother did not like him being out at night, and feared he might catch a cold; he partly resembled the character of Private Pike. An elderly lance corporal in the 10th Hertfordshire often referred to fighting under Kitchener against the "Fuzzy Wuzzies" (Hadendoa), and was the model for Lance Corporal Jones. Other influences included the work of comedians such as Will Hay, whose film Oh, Mr Porter! featured a pompous ass, an old man and a young man; together, this gave Perry the ideas for Mainwaring, Godfrey and Pike. Film historian Jeffrey Richards has cited Lancastrian comedian Robb Wilton as a key influence; Wilton portrayed a work-shy husband who joined the Home Guard in numerous comic sketches during World War II. Perry wrote the first script and sent it to David Croft while working as a minor actor in the Croft-produced sitcom Hugh and I, originally intending the role of the spiv, later called Walker, to be his own. Croft was impressed and sent the script to Michael Mills, the BBC's head of comedy, and the series was commissioned. In his book Dad's Army: The Story of a Classic Television Show, Graham McCann explains that the show owes much to Michael Mills. It was he who renamed the show Dad's Army. He did not like Brightsea-on-Sea, so the location was changed to Walmington-on-Sea. He was happy with the names for the characters Mainwaring, Godfrey and Pike, but not with other names, and he made suggestions: Private Jim Duck became James Frazer, Joe Fish became Joe Walker and Jim Jones became Jack Jones. He also suggested adding a Scot. Jimmy Perry had produced the original idea, but needed a more experienced partner to see it through, so Mills suggested David Croft and this launched the beginning of their professional association. When an episode was screened to members of the public to gauge audience reaction prior to broadcast of the first series, the majority of the audience thought it was very poor. The production team put the report containing the negative comments at the bottom of David Croft's in-tray. He only saw it several months later,[16] after the series had been broadcast and received a positive response. Situation The series is set in the fictional seaside town of Walmington-on-Sea, located on the south coast of England, not far from Eastbourne. The exterior scenes were mostly filmed in and around the Stanford Training Area (STANTA), near Thetford, Norfolk.[19] Walmington, and its Home Guard platoon, would be on the frontline in the event of a German invasion across the English Channel. The first series has a loose narrative thread, with Captain Mainwaring's platoon being formed and equipped, initially with wooden guns and LDV armbands, later on with full army uniforms; the platoon is part of the Queen's Own Royal West Kent Regiment. The first episode, "The Man and the Hour", begins with a scene set in the then-present day of 1968, in which Mainwaring addresses his old platoon as part of the contemporary '"I'm Backing Britain" campaign. The prologue opening was a condition imposed after initial concerns from Paul Fox, the BBC1 controller, that it belittled the efforts of the Home Guard. After Mainwaring relates how he had backed Britain in 1940, the episode proper begins; Dad's Army is thus told in flashback, although the final episode does not return to 1968. Later episodes are largely self-contained, albeit referring to previous events and with additional character development. As the comedy in many ways relies on the platoon's lack of participation in the Second World War, opposition to their activities must come from another quarter, and this is generally provided by Chief Air Raid Precautions (ARP) Warden Hodges, and sometimes by the verger of the local church (St Aldhelm's) or by Captain Square and the neighbouring Eastgate Home Guard platoon. The group, however, does have some encounters related to the enemy, such as downed German planes, a Luftwaffe pilot who parachutes into the town's clock tower, a U-boat crew and discarded parachutes that may have been German; a Viennese ornithologist appears in "Man Hunt" and an IRA suspect appears in "Absent Friends". The humour ranges from the subtle (especially the class-reversed relationship between grammar school-educated Mainwaring, the local bank manager, and public school-educated Wilson, his deputy at the bank) to the slapstick (the antics of the elderly Jones being a prime example). Jones had several catchphrases, including "Don't panic!" (while panicking himself), "They don't like it up 'em!", "Permission to speak, sir?", "Handy-hock!" and his tales about the "Fuzzy-Wuzzies". Mainwaring's catchphrase to Pike is "You stupid boy", which he uses in many episodes. Other cast members used catchphrases, including Sergeant Wilson, who regularly asked, "Do you think that's wise, sir?" when Captain Mainwaring made a suggestion. The early series occasionally included darker humour, reflecting that, especially early in the war, the Home Guard was woefully under-equipped but was still willing to resist the Wehrmacht. For instance, in the episode "The Battle of Godfrey's Cottage", the platoon believes the enemy has invaded Britain. Mainwaring, Godfrey, Frazer and Jones (along with Godfrey's sisters, who are completely unaware of the invasion) decide to stay at the cottage to delay the German advance, buying the regular army time to arrive with reinforcements; "It'll probably be the end of us, but we're ready for that, aren't we, men?" says Mainwaring. "Of course," replies Frazer. Characters Private Pike (Ian Lavender) ARP Warden Hodges (Bill Pertwee) Private Frazer (John Laurie) Private Godfrey (Arnold Ridley) Captain Mainwaring (Arthur Lowe) Private Walker (James Beck) Lance Corporal Jones (Clive Dunn) Sergeant Wilson (John Le Mesurier) Main characters Captain George Mainwaring  (Arthur Lowe), the pompous, if essentially brave and unerringly patriotic local bank manager. Mainwaring appointed himself leader of his town's contingent of Local Defence Volunteers. He had been a lieutenant in the First World War but is embarrassed by the fact that he never saw combat, only being sent to France in 1919 after the Armistice as part of the Army of Occupation in Germany. The character, along with Wilson, also appeared in the original pilot episode of the radio series It Sticks Out Half a Mile. Sergeant Arthur Wilson (John Le Mesurier), a diffident, upper-middle-class chief bank clerk who often quietly questions Mainwaring's judgement ("Do you think that's wise, sir?"). Wilson had actually served as a captain during the First World War, but he only reveals this in the final episode. He does not live with the Pike family, but is implied to be in a relationship with the widowed Mrs Pike. Wilson also appears in the later radio series It Sticks Out Half a Mile. Lance Corporal Jack Jones (Clive Dunn), the local butcher, born in 1870. Jones is an old campaigner who enlisted as a drummer boy at the age of 14 and participated, as a boy soldier, in the Gordon Relief Expedition of 1884–85 and, as an adult, in Kitchener's campaign in the Sudan in 1896–98. Jones also served during the Boer War and the Great War. He often suffers from the effects of malaria caught during one of his campaigns and has to be calmed during his "shudders". Often seen as fastidious and a worrier, he has a number of catchphrases, including "They don't like it up 'em!" and "Don't panic, don't panic!", which he says whilst panicking. Dunn was considerably younger than his character, being only 46 when the series began. This meant he often performed the physical comedy of the show, which some of the older cast members were no longer capable of. Private James Frazer (John Laurie), a dour Scottish former chief petty officer on HMS Defiant in the Royal Navy. He served at the Battle of Jutland as a ship's cook and also has a medal for having served on Shackleton's Antarctic expedition. He grew up on the Isle of Barra and is prone to theatrical poetry. In episode one, he states that he owns a philately shop, but subsequently his profession is changed to an undertaker. His catchphrase is "We're doomed. Doomed!" Private Joe Walker (James Beck), a black market spiv, Walker is one of only two able-bodied men of military age among the main characters (the other one being Private Pike). In the first episode, Walker claims he was not called up to the regular army because he was in a reserved occupation as a wholesale supplier. In one of the missing episodes, it is revealed that he was not called up because of an allergy to corned beef. Although always on the lookout to make money, Walker is also seen to support local charities, including a children's home. Following James Beck's death in 1973, Walker was written out of the series. Private Charles Godfrey (Arnold Ridley), a retired shop assistant who had worked at the Army & Navy store in London. He lives in Walmington with his elderly sisters and serves as the platoon's medical orderly. He has a weak bladder and often needs to "be excused". A conscientious objector during the First World War, he was nevertheless awarded the Military Medal for heroic actions as a combat medic during the Battle of the Somme. He also demonstrates bravery during his Home Guard service, particularly during the "Branded" episode in which Mainwaring, unconscious in a smoke-filled room, is rescued by Godfrey. Private Frank Pike (Ian Lavender), the youngest of the platoon. He is a cosseted, somewhat immature mother's boy, often wearing a thick scarf over his uniform to prevent illness and a frequent target for Mainwaring's derision ("You stupid boy!"). Pike is not called up to the regular army due to his rare blood group (in series eight, he is excused for this reason). He works in his day job as an assistant bank clerk for Mainwaring. He frequently addresses Sergeant Wilson as "Uncle Arthur". However, on the last day of filming, David Croft confirmed to Lavender that Wilson was in fact Pike's father. Pike would later appear in the radio series It Sticks Out Half a Mile. Supporting characters Chief ARP Warden William Hodges (Bill Pertwee), the platoon's major rival and nemesis. He calls Mainwaring "Napoleon". Mainwaring looks down on him as the local greengrocer and dislikes that Hodges saw active service in the First World War. As an Air Raid Precautions (ARP) warden, he is always demanding that people "Put that light out!". He often calls the platoon "Ruddy hooligans!". The character of Hodges would later appear in the radio series It Sticks Out Half a Mile. Reverend Timothy Farthing (Frank Williams), the effete, petulant vicar of St Aldhelm's Church. He reluctantly shares his church hall and office with the platoon. In several episodes of the series, it was implied that the character was a non-active closet gay. Maurice Yeatman (Edward Sinclair), the verger at St Aldhelm's Church and Scoutmaster of the local Sea Scout troop. He is often hostile to the platoon while frequently sycophantic towards the vicar, who often struggles to tolerate him and frequently employs the catchphrase "Oh do be quiet, Mr Yeatman!". He often sides with Hodges to undermine the platoon's activities. Mrs Mavis Pike (Janet Davies), Pike's overbearing widowed mother, who is often implied to be in a relationship with Sergeant Wilson. Liz Frazer replaced Janet Davies in the 1971 film version. Mrs Fox (Pamela Cundell), a glamorous widow. There is a mutual attraction with Corporal Jones and the couple marry in the last episode. Illicit little "extras" are passed across the counter on her regular visits to Jones's butcher's shop and she helps the platoon with official functions. In the episode "Mum's Army", she gives her first name as Marcia, but by the final episode she is addressed as Mildred. Colonel Pritchard (Robert Raglan), Captain Mainwaring's superior officer. A stern, serious man, he unexpectedly appeared to admire Mainwaring, frequently commenting on his successes and warning people not to underestimate him. Private Sponge (Colin Bean), a sheep farmer. He leads the members of the platoon's second section (the first section being led by Corporal Jones) and thus had only occasional speaking parts, although he became more prominent in later series. He appeared in 76 of the 80 episodes. Mr Claude Gordon (Eric Longworth), the Walmington town clerk often involved when the platoon is taking part in local parades and displays. Although generally civil with Captain Mainwaring and his men, he is an officious and somewhat pompous individual, and Hodges tends to use him to try and interfere with the platoon's activities. Private Cheeseman (Talfryn Thomas), a Welshman who works for the town newspaper. He joined the Walmington-on-Sea platoon during the seventh series only after the sudden death of James Beck, who played Private Walker. Captain Square (Geoffrey Lumsden), the pompous commanding officer of the rival Eastgate platoon, and a former regular soldier who served with Lawrence of Arabia during the First World War. He is frequently at loggerheads with Mainwaring (whose name he persists in mispronouncing as spelt, "Main-wearing", instead of the correct "Mannering") and has the catchphrase "You blithering idiot!". Mrs Yeatman (Olive Mercer), the somewhat tyrannical wife of Maurice Yeatman, the verger. Over the course of the series, her first name is given as either Beryl, Anthea or Tracey. Mr Sidney Bluett (Harold Bennett), an elderly local man who is occasionally involved with the antics of both the platoon and Hodges. He and Mrs Yeatman are implied to be having an affair. Miss Janet King (Caroline Dowdeswell), a clerk at Swallow Bank who works with Mainwaring, Wilson and Pike in the first series. Edith Parish (Wendy Richard), also called Shirley, a cinema usherette and girlfriend of Private Walker. Dolly (Amy Dalby and Joan Cooper) and Cissy Godfrey (Nan Braunton and Kathleen Saintsbury), Private Godfrey's spinster sisters, who reside with him at their cottage. Elizabeth Mainwaring (unseen character), George Mainwaring's reclusive, paranoid and domineering wife who is never seen onscreen in the TV series. (In the episode "A Soldier's Farewell" her "shape" is seen sleeping in the bunk above the captain while in their Anderson Shelter.) Her marriage to George is not a happy one and he does his best to avoid her at any opportunity. They have no children. Mrs Mainwaring had a significant on screen role in the 2016 film. Other actors who appeared in small roles include Timothy Carlton, Don Estelle, Nigel Hawthorne, Geoffrey Hughes, Michael Knowles, John Ringham, Fulton Mackay, Anthony Sagar, Anthony Sharp, Carmen Silvera and Barbara Windsor. Larry Martyn appeared as an unnamed private in four episodes, and later took over the part of Walker in the radio series following the death of James Beck. The former cricketer Fred Trueman appeared in "The Test". Opening and closing credits The show's opening titles were originally intended to feature footage of refugees and Nazi troops, to illustrate the threat faced by the Home Guard. Despite opposition from the BBC's head of comedy Michael Mills, Paul Fox, the controller of BBC1, ordered that these be removed on the grounds that they were offensive. The replacement titles featured the animated sequence of swastika-headed arrows approaching Britain.[25] Originally in black and white, the opening titles were updated twice; firstly in series three, adding colour and improved animation, and once again in series six, which made further improvements to the animation. There were two different versions of the closing credits used in the show. The first version, used in series one and two, simply showed footage of the main cast superimposed over a still photograph, with the crew credits rolling over a black background. The better-known closing credits, introduced in series three, were a homage to the end credits of The Way Ahead (1944), a film which had covered the training of a platoon during the Second World War. In both instances, each character is shown as they walk across a smoke-filled battlefield. One of the actors in Dad's Army, John Laurie, also appeared in that film, and his performance in the end credits of The Way Ahead appears to be copied in the sitcom. Coincidentally, the film's lead character (played by David Niven) is named Lieutenant Jim Perry. Following this sequence, the end credits roll, and the platoon is shown in a wide angle shot as, armed, they run towards the camera, while bombs explode behind them. As the credits come to an end, the platoon run past the camera and the all clear siren rings, before the screen fades to black. Music The show's theme tune, "Who Do You Think You Are Kidding, Mr Hitler?" was Jimmy Perry's idea, written especially for the show and intended as a gentle pastiche of wartime songs. The other songs were authentic 1940s music recordings. Perry wrote the lyrics and composed the music with Derek Taverner. Perry persuaded one of his childhood idols, wartime entertainer Bud Flanagan, to sing the theme for 100 guineas (equivalent to £2,400 in 2023). Flanagan died less than a year after the recording. At the time it was widely believed to be a wartime song. The music over the opening credits was recorded at Riverside Studios, Flanagan being accompanied by the Orchestra of the Band of the Coldstream Guards. The version played over the opening credits differs slightly from the full version recorded by Flanagan; an edit removes, for timing reasons, two lines of lyric with the "middle eight" tune: "So watch out Mr Hitler, you have met your match in us/If you think you can crush us, we're afraid you've missed the bus." (The latter lyric is a reference to a speech by Neville Chamberlain.) Bud Flanagan's full version appears as an Easter egg on the first series DVD release and on the authorised soundtrack CD issued by CD41. Arthur Lowe also recorded a full version of the theme. The closing credits feature an instrumental march version of the song played by the Band of the Coldstream Guards conducted by Captain (later Lieutenant Colonel) Trevor L. Sharpe, ending with the air-raid warning siren sounding all-clear. It is accompanied by a style of credits that became a trademark of David Croft: the caption "You have been watching", followed by vignettes of the main cast. The series also contains genuine wartime and period songs between scenes, usually brief quotations that have some reference to the theme of the episode or the scene. Many appear on the CD soundtrack issued by CD41, being the same versions used in the series. Episodes List of Dad's Army episodes The television programme lasted nine series and was broadcast over nine years, with 80 episodes in total, including three Christmas specials and an hour-long special. At its peak, the programme regularly gained audiences of 18.5 million.[35] There were also four short specials broadcast as part of Christmas Night with the Stars in 1968, 1969, 1970 and 1972; one of which was also restaged as part of the Royal Variety Performance 1975. Missing episodes Main article: Dad's Army missing episodes The first two series were recorded and screened in black-and-white, while series three to nine were recorded and screened in colour. Even so, one episode in series three, "Room at the Bottom", formerly survived only as a 16mm black-and-white film telerecording, made for overseas sales to countries not yet broadcasting in colour; and remains on the official DVD releases in this form. This episode has benefited from colour recovery technology, using a buried colour signal (chroma dots) in the black-and-white film print to restore the episode to colour and was transmitted on 13 December 2008 on BBC Two. The newly restored colour version of "Room at the Bottom" was eventually made commercially available in 2023, when it appeared as an extra on the DVD release Dad's Army: The Missing Episodes, with a specially filmed introduction by Ian Lavender. Dad's Army was less affected than most from the wiping of videotape, but three second-series episodes remain missing: episode nine "The Loneliness of the Long Distance Walker", episode eleven "A Stripe for Frazer" and episode 12 "Under Fire". (All three missing episodes were among those remade for BBC Radio with most of the original cast, adapted from the original TV scripts. Audio recordings of all three were included as bonus features on The Complete Series DVD Collection.) Two further series two episodes, "Operation Kilt" and "The Battle of Godfrey's Cottage", were thought lost until 2001.[8] Two of the three missing episodes have since been performed as part of the latest stage show. In 2008, soundtracks of the missing episode "A Stripe for Frazer" and the 1968 Christmas Night with the Stars segment "Present Arms" were recovered. The soundtrack of "A Stripe for Frazer" has been mixed with animation to replace the missing images.[36] The audio soundtrack for the "Cornish Floral Dance" sketch, from the 1970 episode of Christmas Night with the Stars, has also been recovered. Dad's Army: The Lost Episodes (2019) In 2018, UKTV announced plans to recreate the three missing episodes for broadcast on its Gold channel. Mercury Productions, the company responsible for Saluting Dad's Army, Gold's 50th anniversary tribute series, produced the episodes, which were directed by Ben Kellett. The recreations were broadcast in August 2019, coinciding with the 50th anniversary of their original broadcast by the BBC.[37] Kevin McNally and Robert Bathurst were the initial casting announcements as Captain Mainwaring and Sergeant Wilson, with Bernard Cribbins portraying Private Godfrey. The full cast was announced in January 2019, with McNally, Bathurst and Cribbins joined by Kevin Eldon, Mathew Horne, David Hayman and Tom Rosenthal. However, Bernard Cribbins subsequently withdrew from the project, and was replaced as Godfrey by Timothy West. Cast Kevin McNally as Captain Mainwaring Robert Bathurst as Sergeant Wilson Kevin Eldon as Lance Corporal Jones David Hayman as Private Frazer Mathew Horne as Private Walker Timothy West as Private Godfrey Tom Rosenthal as Private Pike Tracy-Ann Oberman as Mrs Pike Simon Ludders as ARP Warden Hodges David Horovitch as Corporal-Colonel Square John Biggins as the Verger Films 1971 film Main article: Dad's Army (1971 film) In common with many British sitcoms of that era, Dad's Army was spun-off as a feature film which was released in 1971. Backers Columbia Pictures imposed arbitrary changes, such as recasting Liz Fraser as Mavis Pike and filming locations in Chalfont St Giles, Buckinghamshire, rather than Thetford in Norfolk, which made the cast unhappy. The director, Norman Cohen, whose idea it was to make the film, was nearly sacked by the studio.: 168  Jimmy Perry and David Croft wrote the original screenplay. This was expanded by Cohen to try to make it more cinematic; Columbia executives made more changes to plot and pacing. As finally realised, two-thirds of the film consists of the creation of the platoon; this was the contribution of Perry and Croft, and differs in a number of ways from the formation of the platoon as seen in the first series of the television version. The final third shows the platoon in action, rescuing hostages from the church hall where they had been held captive by the crewmen of a downed German aircraft. Neither the cast nor Perry and Croft were happy with the result. Perry argued for changes to try to reproduce the style of the television series, but with mixed results. Filming took place from 10 August to 25 September 1970 at Shepperton Studios and on location. After shooting the film, the cast returned to working on the fourth television series. The film's UK première was on 12 March 1971 at the Columbia Theatre, London. Critical reviews were mixed, but it performed well at the UK box-office. Discussions were held about a possible sequel, to be called Dad's Army and the Secret U-Boat Base, but the project never came to fruition.  Michael Gambon as Private Godfrey (2014) 2016 film Main article: Dad's Army (2016 film) A second film, written by Hamish McColl and directed by Oliver Parker, was released in 2016. The cast included Toby Jones as Captain Mainwaring, Bill Nighy as Sergeant Wilson, Tom Courtenay as Lance Corporal Jones, Michael Gambon as Private Godfrey, Blake Harrison as Private Pike, Daniel Mays as Private Walker and Bill Paterson as Private Frazer. Catherine Zeta-Jones, Sarah Lancashire and Mark Gatiss also featured. The film was primarily shot on location in Yorkshire. Filming took place on the beach at North Landing, Flamborough Head, Yorkshire and at nearby Bridlington. It opened in February 2016 to mainly negative reviews. Stage show Main article: Dad's Army (stage show) A poster advertising the stage show In 1975, Dad's Army transferred to the stage as a revue, with songs, familiar scenes from the show and individual "turns" for cast members. It was created by Roger Redfarn, who shared the same agent as the series' writers. Most of the principal cast transferred with it, with the exception of John Laurie, who was replaced by Hamish Roughead.[8] Following James Beck's death two years earlier, Walker was played by John Bardon.[8] Dad's Army: A Nostalgic Music and Laughter Show of Britain's Finest Hour opened at Billingham in Teesside on 4 September 1975 for a two-week tryout. After cuts and revisions, the show transferred to London's West End and opened at the Shaftesbury Theatre on 2 October 1975. On the opening night there was a surprise appearance by Chesney Allen, singing the old Flanagan and Allen song Hometown with Arthur Lowe. The show ran in the West End until 21 February 1976, disrupted twice by bomb scares and then toured the country until 4 September 1976. Clive Dunn was replaced for half the tour by Jack Haig (David Croft's original first choice for the role of Corporal Jones on television). Jeffrey Holland, who went on to star in several later Croft sitcoms, also had a number of roles in the production. The stage show, billed as Dad's Army—The Musical, was staged in Australia and toured New Zealand in 2004–2005, starring Jon English. Several sections of this stage show were filmed and have subsequently been included as extras on the final Dad's Army DVD. In April 2007, a new stage show was announced with cast members including Leslie Grantham as Private Walker and Emmerdale actor Peter Martin as Captain Mainwaring. The production contained the episodes "A Stripe for Frazer", "The Loneliness of the Long Distance Walker", "Room at the Bottom" and "The Deadly Attachment". In August 2017, a new two-man stage show titled, Dad's Army Radio Hour, opened at the Edinburgh Festival Fringe It starred David Benson and Jack Lane. Between them, the pair voiced the entire cast of Dad's Army, including incidental characters. The episodes adapted from the original radio scripts were "The Deadly Attachment", "The Day the Balloon Went Up", "Brain Versus Brawn", "My British Buddy", "Round and Round Went the Great Big Wheel" and "Mum's Army". The production featured three episodes not adapted for the radio series "When You've Got to Go", "My Brother and I" and "Never Too Old". The show was well received by critics and the David Croft estate for its respectful and uncanny performances. In 2019, the production changed its name to Dad's Army Radio Show and continued to tour nationally throughout the UK until the end of 2021. Radio series List of Dad's Army radio episodes The majority of the television scripts were adapted for BBC Radio 4 with the original cast, although other actors played Walker after James Beck's death (which took place soon after recording and before transmission of the first radio series). Harold Snoad and Michael Knowles were responsible for the adaptation,[8] while wartime BBC announcer John Snagge set the scene for each episode. Different actors were used for some of the minor parts: for example Mollie Sugden played the role of Mrs Fox, and Pearl Hackney played Mrs Pike. The first episode was based on the revised version of events seen in the opening of the film version, rather than on the television pilot. The series ran for three series and 67 episodes from 1974-76.[8] The entire radio series has been released on CD. Knowles and Snoad developed a radio series, It Sticks Out Half a Mile, which followed Sergeant Wilson, Private Pike and Warden Hodges's attempts to renovate a pier in the fictional town of Frambourne-on-Sea following the end of the war. It was originally intended to star Arthur Lowe and John Le Mesurier, but Lowe died after recording the pilot episode in 1981. In consequence, Bill Pertwee and Ian Lavender were brought in to replace him. In the event the revised cast recorded a 13-episode series. John Le Mesurier died in November 1983, making another series impossible. The last radio recording of Dad's Army occurred in 1995, when Jimmy Perry wrote a radio sketch entitled The Boy Who Saved England for the "Full Steam A-Hudd" evening broadcast on BBC Radio 2, transmitted on 3 June 1995 on the occasion of the closure of the BBC's Paris studios in Lower Regent Street. It featured Ian Lavender as Pike, Bill Pertwee as Hodges, Frank Williams as the Vicar and Jimmy Perry as General Haverlock-Seabag. American adaptation A pilot episode for an American remake called The Rear Guard, adapted for American viewers by Arthur Julian, was produced by the ABC and broadcast on 10 August 1976, based on the Dad's Army episode "The Deadly Attachment".[8] Set in Long Island, the pilot starred Cliff Norton as Captain Rosatti, Lou Jacobi as Sergeant Raskin and Eddie Foy Jr. as Lance Corporal Wagner. The pilot was considered a failure, so the original tapes were wiped. However, director Hal Cooper kept a copy of the pilot, which was returned to several collectors in 1998. Though further storylines were planned, the series failed to make it past the pilot stage. Other appearances Lowe, Le Mesurier, Laurie, Beck, Ridley and Lavender (wearing Pike's signature scarf) appeared as guests in the 22 April 1971 edition of The Morecambe & Wise Show on BBC2 in the "Monty on the Bonty" sketch, with Lowe as Captain Bligh and the others as crewmen on HMS Bounty. Lowe, Le Mesurier and Laurie again made a cameo appearance as their Dad's Army characters in the 1977 Morecambe & Wise Christmas Special. While Elton John is following incomprehensible instructions to find the BBC studios, he encounters them in a steam room. On leaving, Mainwaring calls him a "stupid boy". Arthur Lowe twice appeared on the BBC children's programme Blue Peter. The first time, in 1973, was with John Le Mesurier, in which the two appeared in costume and in character as Captain Mainwaring and Sergeant Wilson. Together they viewed and discussed a mural painted by schoolchildren, featuring the characters from the show at a Christmas party, among whom was Mainwaring's unseen wife Elizabeth – or rather, what the children thought she looked like (Mainwaring remarks "Good grief. What a remarkable likeness!"). Arthur Lowe made a second appearance as Captain Mainwaring on Blue Peter with the Dad's Army van, which would appear in the forthcoming London-Brighton run, and showed presenter John Noakes the vehicle's hidden anti-Nazi defences.[29][59] Later that year, Lowe, Le Mesurier, Dunn, Lavender and Pertwee, along with Jones's van, appeared in character at the finish of the 1974 London to Brighton Veteran Car Run. The cast appeared in a 1974 public information film, in character but set in the modern day, in which the platoon demonstrated how to cross the road safely at Pelican crossings. Lowe and Le Mesurier made a final appearance as their Dad's Army characters for a 1982 television commercial advertising Wispa chocolate bars. Clive Dunn made occasional appearances as Lance Corporal Jones at 1940s themed events in the 1980s and 1990s and on television on the BBC Saturday night entertainment show Noel's House Party on 27 November 1993. Awards During its original television run, Dad's Army was nominated for multiple British Academy Television Awards, although only won "Best Light Entertainment Programme" in 1971. It was nominated as "Best Situation Comedy" in 1973, 1974 and 1975. In addition, Arthur Lowe was frequently nominated for "Best Light Entertainment Performance" in 1970, 1971, 1973, 1975 and 1978. In 2000, the show was voted 13th in a British Film Institute poll of industry professionals of the 100 Greatest British Television Programmes. In 2004, championed by Phill Jupitus, it came fourth in the BBC poll to find Britain's Best Sitcom with 174,138 votes. Legacy Statue of Captain Mainwaring, erected in Thetford in June 2010 In June 2010, a statue of Captain Mainwaring was erected in the Norfolk town of Thetford where most of the exteriors for the TV series were filmed. The statue features Captain Mainwaring sitting to attention on a simple bench in Home Guard uniform, with his swagger stick across his knees. The statue is mounted at the end of a winding brick pathway with a Union Flag patterned arrowhead to reflect the opening credits of the TV series and the sculpture has been designed so that members of the public can sit beside Captain Mainwaring and have their photograph taken. The statue was vandalised not long after the unveiling by a 10-year-old boy, who kicked it for ten minutes and broke off the statue's glasses, throwing them into a nearby river. The statue has since been fixed. Several references to Dad's Army have been made in other television series. In a 1995 episode of Bottom, titled "Hole", Richie shouts Lance Corporal Jones's catchphrase while stuck up a Ferris wheel set to be demolished the following day. The British sitcom Goodnight Sweetheart paid tribute to Dad's Army in episode one of its second series in 1995, "Don't Get Around Much Any More". Here, lead character Gary Sparrow (Nicholas Lyndhurst) – a time-traveller from the 1990s – goes into a bank in 1941 and meets a bank manager named Mainwaring (Alec Linstead) and his chief clerk, Wilson (Terrence Hardiman), both of whom are in the Home Guard. When he hears the names Mainwaring and Wilson, Gary begins singing the Dad's Army theme song.[72] In addition, a brief visual tribute to Dad's Army is made at the start of the episode "Rag Week" from Ben Elton's 1990s sitcom The Thin Blue Line: a shopfront bears the name "Mainwaring's". In June 2018 the Royal Mail issued a set of eight stamps, featuring the main characters and their catchphrases, to mark the comedy's 50th anniversary. In 2020, Niles Schilder, for the Dad's Army Appreciation Society, wrote four short scripts which detailed how the characters from the series would have, in the author's opinion, dealt with the events of that year. Titles of the scripts included Dad's Army Negotiates Brexit and An Unauthorised Gathering. Cultural influence A pub in Shoeburyness named (albeit incorrectly) after Arthur Lowe's character The characters of Dad's Army and their catchphrases are well known in the UK due to the popularity of the series when originally shown and the frequency of repeats. Jimmy Perry recalls that before writing the sitcom, the Home Guard was a largely forgotten aspect of Britain's defence in the Second World War, something which the series rectified.  In a 1972 Radio Times interview, Arthur Lowe expressed surprise at the programme's success: We expected the show to have limited appeal, to the age group that lived through the war and the Home Guard. We didn't expect what has happened – that children from the age of five upwards would enjoy it too. By focusing on the comic aspects of the Home Guard in a cosy south coast setting, the television series distorted the popular perception of the organisation. Its characters represented the older volunteers within the Home Guard, but largely ignored the large numbers of teenagers and factory workers who also served. Accounts from Home Guard members and their regimental publications inspired Norman Longmate's history The Real Dad's Army (1974). Media releases Main articles: List of Dad's Army books and memorabilia and List of Dad's Army audio releases The first DVD releases of Dad's Army were two "best of" collections, released by the BBC and distributed by 2 Entertain, in October 2001 and September 2002. The first series and the surviving episodes of the second series, along with the documentary Dad's Army: Missing Presumed Wiped, were released in September 2004,[80] while the final series was released in May 2007.[81] In November 2007, the final episodes, the three specials "Battle of the Giants!", "My Brother and I" and "The Love of Three Oranges", were released, along with Dad's Army: The Passing Years documentary, several Christmas Night with the Stars sketches, and excerpts from the 1975-76 stage show.[82] From the third series DVD, We Are the Boys..., a short individual biographical documentary about the main actors and the characters they portrayed on the programme, was included as a special feature. The Columbia film adaptation is separately available; as this is not a BBC production, it is not included in the box set. In 1973 the series was adapted into a comic strip, drawn by Bill Titcombe, which was published in daily newspapers in the UK. These cartoon strips were subsequently collected together and published in book form, by Piccolo Books, in paperback. 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 #dadsarmy   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 affil

Mixing ceremonial pomp with pastoral splendor, this survey of British classics features Haydn's last and grandest symphonic statement, the London Symphony; exquisite gems by Elgar and Britten, and the soaring beauty of Vaughan Williams' The Lark Ascending with violinist Stella Chen, winner of the prestigious Queen Elisabeth Competition and Gramophone's 2023 Young Artist of the Year. Marking the 150th anniversary of Ravel's birth, the program crosses the English Channel for the composer's beguiling Tzigane. CSO Concertmaster Robert Chen has withdrawn from his planned solo appearances in these performances due to rotator cuff tendinitis symptoms. Learn more: cso.org/performances/24-25/cso-classical/glover-and-english-classics

Today's guest is with a former Team GB elite athlete, who was originally a 400 IM swimmer, turned 10km OW swimmer. She talks very openly and candidly about her struggles with competing at the highest level of the sport, recovering form injury and also an eating disorder which very nearly took her out of the sport altogether. Once she had hung up her goggles from the sport, she decided to swim the English Channel, after also completing the Straights of Gibraltar swim. As you do. This is a wonderful chat and it was my honour to speak to Amber Keegan…Season 4 is in collaboration with Ocean Lube the anti-chafing skin cream that protects your skin and saves our oceans.

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     Dad's Army   Dad's Army is a British television sitcom about the United Kingdom's Home Guard during the Second World War. It was written by Jimmy Perry and David Croft, and originally broadcast on BBC1 from 31 July 1968 to 13 November 1977. It ran for nine series and 80 episodes in total; a feature film released in 1971, a stage show and a radio version based on the television scripts were also produced. The series regularly gained audiences of 18 million viewers and is still shown internationally. The Home Guard consisted of local volunteers otherwise ineligible for military service, either because of age (hence the title Dad's Army), medical reasons or by being in professions exempt from conscription. Most of the platoon members in Dad's Army are over military age and the series stars several older British actors, including Arnold Ridley, John Laurie, Arthur Lowe and John Le Mesurier. Younger members of the cast included Ian Lavender, Clive Dunn (who, despite being one of the younger cast members, played the oldest guardsman, Lance Corporal Jones) and James Beck (who died suddenly during production of the sixth series in 1973). Other regular cast members included Frank Williams as the vicar, Edward Sinclair as the verger, and Bill Pertwee as the chief ARP warden. The series has influenced British popular culture, with its catchphrases and characters being widely known. The Radio Times magazine listed Captain Mainwaring's "You stupid boy!" among the 25 greatest put-downs on TV. A 2001 Channel 4 poll ranked Captain Mainwaring 21st on its list of the 100 Greatest TV Characters. In 2004, Dad's Army came fourth in a BBC poll to find Britain's Best Sitcom. It was placed 13th in a list of the 100 Greatest British Television Programmes, drawn up by the British Film Institute in 2000, and voted for by industry professionals. A second feature film of Dad's Army with a different cast was released in 2016. In 2019, UKTV recreated three missing episodes for broadcast in August that year on its Gold channel under the title Dad's Army: The Lost Episodes. It starred Kevin McNally and Robert Bathurst as Captain Mainwaring and Sergeant Wilson. Origins Co-writers David Croft and Jimmy Perry during a Dad's Army event at Bressingham Steam Museum, May 2011 Originally intended to be called The Fighting Tigers, Dad's Army was based partly on co-writer and creator Jimmy Perry's experiences in the Local Defence Volunteers (LDV, later known as the Home Guard) and highlighted a somewhat forgotten aspect of defence during the Second World War. Perry was only 16 when he joined the 10th Hertfordshire Battalion. His mother did not like him being out at night, and feared he might catch a cold; he partly resembled the character of Private Pike. An elderly lance corporal in the 10th Hertfordshire often referred to fighting under Kitchener against the "Fuzzy Wuzzies" (Hadendoa), and was the model for Lance Corporal Jones. Other influences included the work of comedians such as Will Hay, whose film Oh, Mr Porter! featured a pompous ass, an old man and a young man; together, this gave Perry the ideas for Mainwaring, Godfrey and Pike. Film historian Jeffrey Richards has cited Lancastrian comedian Robb Wilton as a key influence; Wilton portrayed a work-shy husband who joined the Home Guard in numerous comic sketches during World War II. Perry wrote the first script and sent it to David Croft while working as a minor actor in the Croft-produced sitcom Hugh and I, originally intending the role of the spiv, later called Walker, to be his own. Croft was impressed and sent the script to Michael Mills, the BBC's head of comedy, and the series was commissioned. In his book Dad's Army: The Story of a Classic Television Show, Graham McCann explains that the show owes much to Michael Mills. It was he who renamed the show Dad's Army. He did not like Brightsea-on-Sea, so the location was changed to Walmington-on-Sea. He was happy with the names for the characters Mainwaring, Godfrey and Pike, but not with other names, and he made suggestions: Private Jim Duck became James Frazer, Joe Fish became Joe Walker and Jim Jones became Jack Jones. He also suggested adding a Scot. Jimmy Perry had produced the original idea, but needed a more experienced partner to see it through, so Mills suggested David Croft and this launched the beginning of their professional association. When an episode was screened to members of the public to gauge audience reaction prior to broadcast of the first series, the majority of the audience thought it was very poor. The production team put the report containing the negative comments at the bottom of David Croft's in-tray. He only saw it several months later,[16] after the series had been broadcast and received a positive response. Situation The series is set in the fictional seaside town of Walmington-on-Sea, located on the south coast of England, not far from Eastbourne. The exterior scenes were mostly filmed in and around the Stanford Training Area (STANTA), near Thetford, Norfolk.[19] Walmington, and its Home Guard platoon, would be on the frontline in the event of a German invasion across the English Channel. The first series has a loose narrative thread, with Captain Mainwaring's platoon being formed and equipped, initially with wooden guns and LDV armbands, later on with full army uniforms; the platoon is part of the Queen's Own Royal West Kent Regiment. The first episode, "The Man and the Hour", begins with a scene set in the then-present day of 1968, in which Mainwaring addresses his old platoon as part of the contemporary '"I'm Backing Britain" campaign. The prologue opening was a condition imposed after initial concerns from Paul Fox, the BBC1 controller, that it belittled the efforts of the Home Guard. After Mainwaring relates how he had backed Britain in 1940, the episode proper begins; Dad's Army is thus told in flashback, although the final episode does not return to 1968. Later episodes are largely self-contained, albeit referring to previous events and with additional character development. As the comedy in many ways relies on the platoon's lack of participation in the Second World War, opposition to their activities must come from another quarter, and this is generally provided by Chief Air Raid Precautions (ARP) Warden Hodges, and sometimes by the verger of the local church (St Aldhelm's) or by Captain Square and the neighbouring Eastgate Home Guard platoon. The group, however, does have some encounters related to the enemy, such as downed German planes, a Luftwaffe pilot who parachutes into the town's clock tower, a U-boat crew and discarded parachutes that may have been German; a Viennese ornithologist appears in "Man Hunt" and an IRA suspect appears in "Absent Friends". The humour ranges from the subtle (especially the class-reversed relationship between grammar school-educated Mainwaring, the local bank manager, and public school-educated Wilson, his deputy at the bank) to the slapstick (the antics of the elderly Jones being a prime example). Jones had several catchphrases, including "Don't panic!" (while panicking himself), "They don't like it up 'em!", "Permission to speak, sir?", "Handy-hock!" and his tales about the "Fuzzy-Wuzzies". Mainwaring's catchphrase to Pike is "You stupid boy", which he uses in many episodes. Other cast members used catchphrases, including Sergeant Wilson, who regularly asked, "Do you think that's wise, sir?" when Captain Mainwaring made a suggestion. The early series occasionally included darker humour, reflecting that, especially early in the war, the Home Guard was woefully under-equipped but was still willing to resist the Wehrmacht. For instance, in the episode "The Battle of Godfrey's Cottage", the platoon believes the enemy has invaded Britain. Mainwaring, Godfrey, Frazer and Jones (along with Godfrey's sisters, who are completely unaware of the invasion) decide to stay at the cottage to delay the German advance, buying the regular army time to arrive with reinforcements; "It'll probably be the end of us, but we're ready for that, aren't we, men?" says Mainwaring. "Of course," replies Frazer. Characters Private Pike (Ian Lavender) ARP Warden Hodges (Bill Pertwee) Private Frazer (John Laurie) Private Godfrey (Arnold Ridley) Captain Mainwaring (Arthur Lowe) Private Walker (James Beck) Lance Corporal Jones (Clive Dunn) Sergeant Wilson (John Le Mesurier) Main characters Captain George Mainwaring  (Arthur Lowe), the pompous, if essentially brave and unerringly patriotic local bank manager. Mainwaring appointed himself leader of his town's contingent of Local Defence Volunteers. He had been a lieutenant in the First World War but is embarrassed by the fact that he never saw combat, only being sent to France in 1919 after the Armistice as part of the Army of Occupation in Germany. The character, along with Wilson, also appeared in the original pilot episode of the radio series It Sticks Out Half a Mile. Sergeant Arthur Wilson (John Le Mesurier), a diffident, upper-middle-class chief bank clerk who often quietly questions Mainwaring's judgement ("Do you think that's wise, sir?"). Wilson had actually served as a captain during the First World War, but he only reveals this in the final episode. He does not live with the Pike family, but is implied to be in a relationship with the widowed Mrs Pike. Wilson also appears in the later radio series It Sticks Out Half a Mile. Lance Corporal Jack Jones (Clive Dunn), the local butcher, born in 1870. Jones is an old campaigner who enlisted as a drummer boy at the age of 14 and participated, as a boy soldier, in the Gordon Relief Expedition of 1884–85 and, as an adult, in Kitchener's campaign in the Sudan in 1896–98. Jones also served during the Boer War and the Great War. He often suffers from the effects of malaria caught during one of his campaigns and has to be calmed during his "shudders". Often seen as fastidious and a worrier, he has a number of catchphrases, including "They don't like it up 'em!" and "Don't panic, don't panic!", which he says whilst panicking. Dunn was considerably younger than his character, being only 46 when the series began. This meant he often performed the physical comedy of the show, which some of the older cast members were no longer capable of. Private James Frazer (John Laurie), a dour Scottish former chief petty officer on HMS Defiant in the Royal Navy. He served at the Battle of Jutland as a ship's cook and also has a medal for having served on Shackleton's Antarctic expedition. He grew up on the Isle of Barra and is prone to theatrical poetry. In episode one, he states that he owns a philately shop, but subsequently his profession is changed to an undertaker. His catchphrase is "We're doomed. Doomed!" Private Joe Walker (James Beck), a black market spiv, Walker is one of only two able-bodied men of military age among the main characters (the other one being Private Pike). In the first episode, Walker claims he was not called up to the regular army because he was in a reserved occupation as a wholesale supplier. In one of the missing episodes, it is revealed that he was not called up because of an allergy to corned beef. Although always on the lookout to make money, Walker is also seen to support local charities, including a children's home. Following James Beck's death in 1973, Walker was written out of the series. Private Charles Godfrey (Arnold Ridley), a retired shop assistant who had worked at the Army & Navy store in London. He lives in Walmington with his elderly sisters and serves as the platoon's medical orderly. He has a weak bladder and often needs to "be excused". A conscientious objector during the First World War, he was nevertheless awarded the Military Medal for heroic actions as a combat medic during the Battle of the Somme. He also demonstrates bravery during his Home Guard service, particularly during the "Branded" episode in which Mainwaring, unconscious in a smoke-filled room, is rescued by Godfrey. Private Frank Pike (Ian Lavender), the youngest of the platoon. He is a cosseted, somewhat immature mother's boy, often wearing a thick scarf over his uniform to prevent illness and a frequent target for Mainwaring's derision ("You stupid boy!"). Pike is not called up to the regular army due to his rare blood group (in series eight, he is excused for this reason). He works in his day job as an assistant bank clerk for Mainwaring. He frequently addresses Sergeant Wilson as "Uncle Arthur". However, on the last day of filming, David Croft confirmed to Lavender that Wilson was in fact Pike's father. Pike would later appear in the radio series It Sticks Out Half a Mile. Supporting characters Chief ARP Warden William Hodges (Bill Pertwee), the platoon's major rival and nemesis. He calls Mainwaring "Napoleon". Mainwaring looks down on him as the local greengrocer and dislikes that Hodges saw active service in the First World War. As an Air Raid Precautions (ARP) warden, he is always demanding that people "Put that light out!". He often calls the platoon "Ruddy hooligans!". The character of Hodges would later appear in the radio series It Sticks Out Half a Mile. Reverend Timothy Farthing (Frank Williams), the effete, petulant vicar of St Aldhelm's Church. He reluctantly shares his church hall and office with the platoon. In several episodes of the series, it was implied that the character was a non-active closet gay. Maurice Yeatman (Edward Sinclair), the verger at St Aldhelm's Church and Scoutmaster of the local Sea Scout troop. He is often hostile to the platoon while frequently sycophantic towards the vicar, who often struggles to tolerate him and frequently employs the catchphrase "Oh do be quiet, Mr Yeatman!". He often sides with Hodges to undermine the platoon's activities. Mrs Mavis Pike (Janet Davies), Pike's overbearing widowed mother, who is often implied to be in a relationship with Sergeant Wilson. Liz Frazer replaced Janet Davies in the 1971 film version. Mrs Fox (Pamela Cundell), a glamorous widow. There is a mutual attraction with Corporal Jones and the couple marry in the last episode. Illicit little "extras" are passed across the counter on her regular visits to Jones's butcher's shop and she helps the platoon with official functions. In the episode "Mum's Army", she gives her first name as Marcia, but by the final episode she is addressed as Mildred. Colonel Pritchard (Robert Raglan), Captain Mainwaring's superior officer. A stern, serious man, he unexpectedly appeared to admire Mainwaring, frequently commenting on his successes and warning people not to underestimate him. Private Sponge (Colin Bean), a sheep farmer. He leads the members of the platoon's second section (the first section being led by Corporal Jones) and thus had only occasional speaking parts, although he became more prominent in later series. He appeared in 76 of the 80 episodes. Mr Claude Gordon (Eric Longworth), the Walmington town clerk often involved when the platoon is taking part in local parades and displays. Although generally civil with Captain Mainwaring and his men, he is an officious and somewhat pompous individual, and Hodges tends to use him to try and interfere with the platoon's activities. Private Cheeseman (Talfryn Thomas), a Welshman who works for the town newspaper. He joined the Walmington-on-Sea platoon during the seventh series only after the sudden death of James Beck, who played Private Walker. Captain Square (Geoffrey Lumsden), the pompous commanding officer of the rival Eastgate platoon, and a former regular soldier who served with Lawrence of Arabia during the First World War. He is frequently at loggerheads with Mainwaring (whose name he persists in mispronouncing as spelt, "Main-wearing", instead of the correct "Mannering") and has the catchphrase "You blithering idiot!". Mrs Yeatman (Olive Mercer), the somewhat tyrannical wife of Maurice Yeatman, the verger. Over the course of the series, her first name is given as either Beryl, Anthea or Tracey. Mr Sidney Bluett (Harold Bennett), an elderly local man who is occasionally involved with the antics of both the platoon and Hodges. He and Mrs Yeatman are implied to be having an affair. Miss Janet King (Caroline Dowdeswell), a clerk at Swallow Bank who works with Mainwaring, Wilson and Pike in the first series. Edith Parish (Wendy Richard), also called Shirley, a cinema usherette and girlfriend of Private Walker. Dolly (Amy Dalby and Joan Cooper) and Cissy Godfrey (Nan Braunton and Kathleen Saintsbury), Private Godfrey's spinster sisters, who reside with him at their cottage. Elizabeth Mainwaring (unseen character), George Mainwaring's reclusive, paranoid and domineering wife who is never seen onscreen in the TV series. (In the episode "A Soldier's Farewell" her "shape" is seen sleeping in the bunk above the captain while in their Anderson Shelter.) Her marriage to George is not a happy one and he does his best to avoid her at any opportunity. They have no children. Mrs Mainwaring had a significant on screen role in the 2016 film. Other actors who appeared in small roles include Timothy Carlton, Don Estelle, Nigel Hawthorne, Geoffrey Hughes, Michael Knowles, John Ringham, Fulton Mackay, Anthony Sagar, Anthony Sharp, Carmen Silvera and Barbara Windsor. Larry Martyn appeared as an unnamed private in four episodes, and later took over the part of Walker in the radio series following the death of James Beck. The former cricketer Fred Trueman appeared in "The Test". Opening and closing credits The show's opening titles were originally intended to feature footage of refugees and Nazi troops, to illustrate the threat faced by the Home Guard. Despite opposition from the BBC's head of comedy Michael Mills, Paul Fox, the controller of BBC1, ordered that these be removed on the grounds that they were offensive. The replacement titles featured the animated sequence of swastika-headed arrows approaching Britain.[25] Originally in black and white, the opening titles were updated twice; firstly in series three, adding colour and improved animation, and once again in series six, which made further improvements to the animation. There were two different versions of the closing credits used in the show. The first version, used in series one and two, simply showed footage of the main cast superimposed over a still photograph, with the crew credits rolling over a black background. The better-known closing credits, introduced in series three, were a homage to the end credits of The Way Ahead (1944), a film which had covered the training of a platoon during the Second World War. In both instances, each character is shown as they walk across a smoke-filled battlefield. One of the actors in Dad's Army, John Laurie, also appeared in that film, and his performance in the end credits of The Way Ahead appears to be copied in the sitcom. Coincidentally, the film's lead character (played by David Niven) is named Lieutenant Jim Perry. Following this sequence, the end credits roll, and the platoon is shown in a wide angle shot as, armed, they run towards the camera, while bombs explode behind them. As the credits come to an end, the platoon run past the camera and the all clear siren rings, before the screen fades to black. Music The show's theme tune, "Who Do You Think You Are Kidding, Mr Hitler?" was Jimmy Perry's idea, written especially for the show and intended as a gentle pastiche of wartime songs. The other songs were authentic 1940s music recordings. Perry wrote the lyrics and composed the music with Derek Taverner. Perry persuaded one of his childhood idols, wartime entertainer Bud Flanagan, to sing the theme for 100 guineas (equivalent to £2,400 in 2023). Flanagan died less than a year after the recording. At the time it was widely believed to be a wartime song. The music over the opening credits was recorded at Riverside Studios, Flanagan being accompanied by the Orchestra of the Band of the Coldstream Guards. The version played over the opening credits differs slightly from the full version recorded by Flanagan; an edit removes, for timing reasons, two lines of lyric with the "middle eight" tune: "So watch out Mr Hitler, you have met your match in us/If you think you can crush us, we're afraid you've missed the bus." (The latter lyric is a reference to a speech by Neville Chamberlain.) Bud Flanagan's full version appears as an Easter egg on the first series DVD release and on the authorised soundtrack CD issued by CD41. Arthur Lowe also recorded a full version of the theme. The closing credits feature an instrumental march version of the song played by the Band of the Coldstream Guards conducted by Captain (later Lieutenant Colonel) Trevor L. Sharpe, ending with the air-raid warning siren sounding all-clear. It is accompanied by a style of credits that became a trademark of David Croft: the caption "You have been watching", followed by vignettes of the main cast. The series also contains genuine wartime and period songs between scenes, usually brief quotations that have some reference to the theme of the episode or the scene. Many appear on the CD soundtrack issued by CD41, being the same versions used in the series. Episodes List of Dad's Army episodes The television programme lasted nine series and was broadcast over nine years, with 80 episodes in total, including three Christmas specials and an hour-long special. At its peak, the programme regularly gained audiences of 18.5 million.[35] There were also four short specials broadcast as part of Christmas Night with the Stars in 1968, 1969, 1970 and 1972; one of which was also restaged as part of the Royal Variety Performance 1975. Missing episodes Main article: Dad's Army missing episodes The first two series were recorded and screened in black-and-white, while series three to nine were recorded and screened in colour. Even so, one episode in series three, "Room at the Bottom", formerly survived only as a 16mm black-and-white film telerecording, made for overseas sales to countries not yet broadcasting in colour; and remains on the official DVD releases in this form. This episode has benefited from colour recovery technology, using a buried colour signal (chroma dots) in the black-and-white film print to restore the episode to colour and was transmitted on 13 December 2008 on BBC Two. The newly restored colour version of "Room at the Bottom" was eventually made commercially available in 2023, when it appeared as an extra on the DVD release Dad's Army: The Missing Episodes, with a specially filmed introduction by Ian Lavender. Dad's Army was less affected than most from the wiping of videotape, but three second-series episodes remain missing: episode nine "The Loneliness of the Long Distance Walker", episode eleven "A Stripe for Frazer" and episode 12 "Under Fire". (All three missing episodes were among those remade for BBC Radio with most of the original cast, adapted from the original TV scripts. Audio recordings of all three were included as bonus features on The Complete Series DVD Collection.) Two further series two episodes, "Operation Kilt" and "The Battle of Godfrey's Cottage", were thought lost until 2001.[8] Two of the three missing episodes have since been performed as part of the latest stage show. In 2008, soundtracks of the missing episode "A Stripe for Frazer" and the 1968 Christmas Night with the Stars segment "Present Arms" were recovered. The soundtrack of "A Stripe for Frazer" has been mixed with animation to replace the missing images.[36] The audio soundtrack for the "Cornish Floral Dance" sketch, from the 1970 episode of Christmas Night with the Stars, has also been recovered. Dad's Army: The Lost Episodes (2019) In 2018, UKTV announced plans to recreate the three missing episodes for broadcast on its Gold channel. Mercury Productions, the company responsible for Saluting Dad's Army, Gold's 50th anniversary tribute series, produced the episodes, which were directed by Ben Kellett. The recreations were broadcast in August 2019, coinciding with the 50th anniversary of their original broadcast by the BBC.[37] Kevin McNally and Robert Bathurst were the initial casting announcements as Captain Mainwaring and Sergeant Wilson, with Bernard Cribbins portraying Private Godfrey. The full cast was announced in January 2019, with McNally, Bathurst and Cribbins joined by Kevin Eldon, Mathew Horne, David Hayman and Tom Rosenthal. However, Bernard Cribbins subsequently withdrew from the project, and was replaced as Godfrey by Timothy West. Cast Kevin McNally as Captain Mainwaring Robert Bathurst as Sergeant Wilson Kevin Eldon as Lance Corporal Jones David Hayman as Private Frazer Mathew Horne as Private Walker Timothy West as Private Godfrey Tom Rosenthal as Private Pike Tracy-Ann Oberman as Mrs Pike Simon Ludders as ARP Warden Hodges David Horovitch as Corporal-Colonel Square John Biggins as the Verger Films 1971 film Main article: Dad's Army (1971 film) In common with many British sitcoms of that era, Dad's Army was spun-off as a feature film which was released in 1971. Backers Columbia Pictures imposed arbitrary changes, such as recasting Liz Fraser as Mavis Pike and filming locations in Chalfont St Giles, Buckinghamshire, rather than Thetford in Norfolk, which made the cast unhappy. The director, Norman Cohen, whose idea it was to make the film, was nearly sacked by the studio.: 168  Jimmy Perry and David Croft wrote the original screenplay. This was expanded by Cohen to try to make it more cinematic; Columbia executives made more changes to plot and pacing. As finally realised, two-thirds of the film consists of the creation of the platoon; this was the contribution of Perry and Croft, and differs in a number of ways from the formation of the platoon as seen in the first series of the television version. The final third shows the platoon in action, rescuing hostages from the church hall where they had been held captive by the crewmen of a downed German aircraft. Neither the cast nor Perry and Croft were happy with the result. Perry argued for changes to try to reproduce the style of the television series, but with mixed results. Filming took place from 10 August to 25 September 1970 at Shepperton Studios and on location. After shooting the film, the cast returned to working on the fourth television series. The film's UK première was on 12 March 1971 at the Columbia Theatre, London. Critical reviews were mixed, but it performed well at the UK box-office. Discussions were held about a possible sequel, to be called Dad's Army and the Secret U-Boat Base, but the project never came to fruition.  Michael Gambon as Private Godfrey (2014) 2016 film Main article: Dad's Army (2016 film) A second film, written by Hamish McColl and directed by Oliver Parker, was released in 2016. The cast included Toby Jones as Captain Mainwaring, Bill Nighy as Sergeant Wilson, Tom Courtenay as Lance Corporal Jones, Michael Gambon as Private Godfrey, Blake Harrison as Private Pike, Daniel Mays as Private Walker and Bill Paterson as Private Frazer. Catherine Zeta-Jones, Sarah Lancashire and Mark Gatiss also featured. The film was primarily shot on location in Yorkshire. Filming took place on the beach at North Landing, Flamborough Head, Yorkshire and at nearby Bridlington. It opened in February 2016 to mainly negative reviews. Stage show Main article: Dad's Army (stage show) A poster advertising the stage show In 1975, Dad's Army transferred to the stage as a revue, with songs, familiar scenes from the show and individual "turns" for cast members. It was created by Roger Redfarn, who shared the same agent as the series' writers. Most of the principal cast transferred with it, with the exception of John Laurie, who was replaced by Hamish Roughead.[8] Following James Beck's death two years earlier, Walker was played by John Bardon.[8] Dad's Army: A Nostalgic Music and Laughter Show of Britain's Finest Hour opened at Billingham in Teesside on 4 September 1975 for a two-week tryout. After cuts and revisions, the show transferred to London's West End and opened at the Shaftesbury Theatre on 2 October 1975. On the opening night there was a surprise appearance by Chesney Allen, singing the old Flanagan and Allen song Hometown with Arthur Lowe. The show ran in the West End until 21 February 1976, disrupted twice by bomb scares and then toured the country until 4 September 1976. Clive Dunn was replaced for half the tour by Jack Haig (David Croft's original first choice for the role of Corporal Jones on television). Jeffrey Holland, who went on to star in several later Croft sitcoms, also had a number of roles in the production. The stage show, billed as Dad's Army—The Musical, was staged in Australia and toured New Zealand in 2004–2005, starring Jon English. Several sections of this stage show were filmed and have subsequently been included as extras on the final Dad's Army DVD. In April 2007, a new stage show was announced with cast members including Leslie Grantham as Private Walker and Emmerdale actor Peter Martin as Captain Mainwaring. The production contained the episodes "A Stripe for Frazer", "The Loneliness of the Long Distance Walker", "Room at the Bottom" and "The Deadly Attachment". In August 2017, a new two-man stage show titled, Dad's Army Radio Hour, opened at the Edinburgh Festival Fringe It starred David Benson and Jack Lane. Between them, the pair voiced the entire cast of Dad's Army, including incidental characters. The episodes adapted from the original radio scripts were "The Deadly Attachment", "The Day the Balloon Went Up", "Brain Versus Brawn", "My British Buddy", "Round and Round Went the Great Big Wheel" and "Mum's Army". The production featured three episodes not adapted for the radio series "When You've Got to Go", "My Brother and I" and "Never Too Old". The show was well received by critics and the David Croft estate for its respectful and uncanny performances. In 2019, the production changed its name to Dad's Army Radio Show and continued to tour nationally throughout the UK until the end of 2021. Radio series List of Dad's Army radio episodes The majority of the television scripts were adapted for BBC Radio 4 with the original cast, although other actors played Walker after James Beck's death (which took place soon after recording and before transmission of the first radio series). Harold Snoad and Michael Knowles were responsible for the adaptation,[8] while wartime BBC announcer John Snagge set the scene for each episode. Different actors were used for some of the minor parts: for example Mollie Sugden played the role of Mrs Fox, and Pearl Hackney played Mrs Pike. The first episode was based on the revised version of events seen in the opening of the film version, rather than on the television pilot. The series ran for three series and 67 episodes from 1974-76.[8] The entire radio series has been released on CD. Knowles and Snoad developed a radio series, It Sticks Out Half a Mile, which followed Sergeant Wilson, Private Pike and Warden Hodges's attempts to renovate a pier in the fictional town of Frambourne-on-Sea following the end of the war. It was originally intended to star Arthur Lowe and John Le Mesurier, but Lowe died after recording the pilot episode in 1981. In consequence, Bill Pertwee and Ian Lavender were brought in to replace him. In the event the revised cast recorded a 13-episode series. John Le Mesurier died in November 1983, making another series impossible. The last radio recording of Dad's Army occurred in 1995, when Jimmy Perry wrote a radio sketch entitled The Boy Who Saved England for the "Full Steam A-Hudd" evening broadcast on BBC Radio 2, transmitted on 3 June 1995 on the occasion of the closure of the BBC's Paris studios in Lower Regent Street. It featured Ian Lavender as Pike, Bill Pertwee as Hodges, Frank Williams as the Vicar and Jimmy Perry as General Haverlock-Seabag. American adaptation A pilot episode for an American remake called The Rear Guard, adapted for American viewers by Arthur Julian, was produced by the ABC and broadcast on 10 August 1976, based on the Dad's Army episode "The Deadly Attachment".[8] Set in Long Island, the pilot starred Cliff Norton as Captain Rosatti, Lou Jacobi as Sergeant Raskin and Eddie Foy Jr. as Lance Corporal Wagner. The pilot was considered a failure, so the original tapes were wiped. However, director Hal Cooper kept a copy of the pilot, which was returned to several collectors in 1998. Though further storylines were planned, the series failed to make it past the pilot stage. Other appearances Lowe, Le Mesurier, Laurie, Beck, Ridley and Lavender (wearing Pike's signature scarf) appeared as guests in the 22 April 1971 edition of The Morecambe & Wise Show on BBC2 in the "Monty on the Bonty" sketch, with Lowe as Captain Bligh and the others as crewmen on HMS Bounty. Lowe, Le Mesurier and Laurie again made a cameo appearance as their Dad's Army characters in the 1977 Morecambe & Wise Christmas Special. While Elton John is following incomprehensible instructions to find the BBC studios, he encounters them in a steam room. On leaving, Mainwaring calls him a "stupid boy". Arthur Lowe twice appeared on the BBC children's programme Blue Peter. The first time, in 1973, was with John Le Mesurier, in which the two appeared in costume and in character as Captain Mainwaring and Sergeant Wilson. Together they viewed and discussed a mural painted by schoolchildren, featuring the characters from the show at a Christmas party, among whom was Mainwaring's unseen wife Elizabeth – or rather, what the children thought she looked like (Mainwaring remarks "Good grief. What a remarkable likeness!"). Arthur Lowe made a second appearance as Captain Mainwaring on Blue Peter with the Dad's Army van, which would appear in the forthcoming London-Brighton run, and showed presenter John Noakes the vehicle's hidden anti-Nazi defences.[29][59] Later that year, Lowe, Le Mesurier, Dunn, Lavender and Pertwee, along with Jones's van, appeared in character at the finish of the 1974 London to Brighton Veteran Car Run. The cast appeared in a 1974 public information film, in character but set in the modern day, in which the platoon demonstrated how to cross the road safely at Pelican crossings. Lowe and Le Mesurier made a final appearance as their Dad's Army characters for a 1982 television commercial advertising Wispa chocolate bars. Clive Dunn made occasional appearances as Lance Corporal Jones at 1940s themed events in the 1980s and 1990s and on television on the BBC Saturday night entertainment show Noel's House Party on 27 November 1993. Awards During its original television run, Dad's Army was nominated for multiple British Academy Television Awards, although only won "Best Light Entertainment Programme" in 1971. It was nominated as "Best Situation Comedy" in 1973, 1974 and 1975. In addition, Arthur Lowe was frequently nominated for "Best Light Entertainment Performance" in 1970, 1971, 1973, 1975 and 1978. In 2000, the show was voted 13th in a British Film Institute poll of industry professionals of the 100 Greatest British Television Programmes. In 2004, championed by Phill Jupitus, it came fourth in the BBC poll to find Britain's Best Sitcom with 174,138 votes. Legacy Statue of Captain Mainwaring, erected in Thetford in June 2010 In June 2010, a statue of Captain Mainwaring was erected in the Norfolk town of Thetford where most of the exteriors for the TV series were filmed. The statue features Captain Mainwaring sitting to attention on a simple bench in Home Guard uniform, with his swagger stick across his knees. The statue is mounted at the end of a winding brick pathway with a Union Flag patterned arrowhead to reflect the opening credits of the TV series and the sculpture has been designed so that members of the public can sit beside Captain Mainwaring and have their photograph taken. The statue was vandalised not long after the unveiling by a 10-year-old boy, who kicked it for ten minutes and broke off the statue's glasses, throwing them into a nearby river. The statue has since been fixed. Several references to Dad's Army have been made in other television series. In a 1995 episode of Bottom, titled "Hole", Richie shouts Lance Corporal Jones's catchphrase while stuck up a Ferris wheel set to be demolished the following day. The British sitcom Goodnight Sweetheart paid tribute to Dad's Army in episode one of its second series in 1995, "Don't Get Around Much Any More". Here, lead character Gary Sparrow (Nicholas Lyndhurst) – a time-traveller from the 1990s – goes into a bank in 1941 and meets a bank manager named Mainwaring (Alec Linstead) and his chief clerk, Wilson (Terrence Hardiman), both of whom are in the Home Guard. When he hears the names Mainwaring and Wilson, Gary begins singing the Dad's Army theme song.[72] In addition, a brief visual tribute to Dad's Army is made at the start of the episode "Rag Week" from Ben Elton's 1990s sitcom The Thin Blue Line: a shopfront bears the name "Mainwaring's". In June 2018 the Royal Mail issued a set of eight stamps, featuring the main characters and their catchphrases, to mark the comedy's 50th anniversary. In 2020, Niles Schilder, for the Dad's Army Appreciation Society, wrote four short scripts which detailed how the characters from the series would have, in the author's opinion, dealt with the events of that year. Titles of the scripts included Dad's Army Negotiates Brexit and An Unauthorised Gathering. Cultural influence A pub in Shoeburyness named (albeit incorrectly) after Arthur Lowe's character The characters of Dad's Army and their catchphrases are well known in the UK due to the popularity of the series when originally shown and the frequency of repeats. Jimmy Perry recalls that before writing the sitcom, the Home Guard was a largely forgotten aspect of Britain's defence in the Second World War, something which the series rectified.  In a 1972 Radio Times interview, Arthur Lowe expressed surprise at the programme's success: We expected the show to have limited appeal, to the age group that lived through the war and the Home Guard. We didn't expect what has happened – that children from the age of five upwards would enjoy it too. By focusing on the comic aspects of the Home Guard in a cosy south coast setting, the television series distorted the popular perception of the organisation. Its characters represented the older volunteers within the Home Guard, but largely ignored the large numbers of teenagers and factory workers who also served. Accounts from Home Guard members and their regimental publications inspired Norman Longmate's history The Real Dad's Army (1974). Media releases Main articles: List of Dad's Army books and memorabilia and List of Dad's Army audio releases The first DVD releases of Dad's Army were two "best of" collections, released by the BBC and distributed by 2 Entertain, in October 2001 and September 2002. The first series and the surviving episodes of the second series, along with the documentary Dad's Army: Missing Presumed Wiped, were released in September 2004,[80] while the final series was released in May 2007.[81] In November 2007, the final episodes, the three specials "Battle of the Giants!", "My Brother and I" and "The Love of Three Oranges", were released, along with Dad's Army: The Passing Years documentary, several Christmas Night with the Stars sketches, and excerpts from the 1975-76 stage show.[82] From the third series DVD, We Are the Boys..., a short individual biographical documentary about the main actors and the characters they portrayed on the programme, was included as a special feature. The Columbia film adaptation is separately available; as this is not a BBC production, it is not included in the box set. In 1973 the series was adapted into a comic strip, drawn by Bill Titcombe, which was published in daily newspapers in the UK. These cartoon strips were subsequently collected together and published in book form, by Piccolo Books, in paperback. 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 #dadsarmy   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 affil