Podcasts about entertain

We're feeling silly today, and the Four of Wands is a perfectly entertaining card for us today. Celebration, getting your groove on, and finding the flow are the meanings for this card. A stable, creative force and drive all here in the Four of Wands. Why do you have a passion for what you do and how you create? Celebrate the milestone in your life. Celebrate your community. Homework: When was the last time you celebrated or acknowledged a triumph in your life? Especially when you get out of bed or take a shower. FYI, Melissa has changed her rates to help those who are not baseline. So, visit her website and sign up for a reading now. Catch Hilary and Melissa on Instagram for live readings. Follow them both and get a quick reading.   Decks Mentioned Melissa: The Mystic Garbage Tarot by Junkyard Prints Co. (link goes to an online reseller with images)  Hilary: The Marvel Tarot by Author Syndee Barwick and illustrated by Lily McDonnell (link takes you to a NY local reseller) Jaymi: The Felt Tarot by Jamie Sawyer just completed a two-week, successful Kickstarter.  Check out this sample video on how the cards were made on Jamie's YouTube page. Resources Mentioned “Pop Goes the Tarot” series from Melissa's Website Finch app. All of us are addicted. Steve Jackson Games “How to Entertain an Idiot Card”. While this link directs you to Zazzle, you can create your own.   Do you like what you hear? Please send feedback to us at cardslingerscc@gmail.com. Follow us on Instagram at www.instagram.com/cardslingerscc. We also have a YouTube channel at youtube.com/@cardslingerscc. Eventually, we will back up the episodes and have more live content. Support our podcast with books or decks. We're adding all the books from each episode to our Cardslingers CC bookshop.org store. Each purchase from this store gives us a percentage to cover our costs! www.bookshop.org/shop/cardslingerscc. Reminder: We will NEVER DM you for a reading on any social media site. We schedule all readings and conversations through our personal websites.

Nick believes Evan Mobley is the only untouchable player on this Cavaliers roster. With that in mind, he floats a few trades that would involve Mitchell being on the move.

Ready to take your fitness business online and actually make money doing it? In this episode, we walk you through the step-by-step strategy for becoming a trusted, in-demand fitness influencer using the proven framework from the Fitness Influencer Certification.

Do you stay the course with these young Pistons?

If you're an entrepreneur (or want to be), you can't afford to keep posting and ghosting. You need to build a brand, grow a tribe, and make your message move people.And guess what? That all starts with you—your authenticity, your story, and how you show up online.I just got back from an EPIC private mastermind at my homie Garrett Gunderson's house in Salt Lake City— the New York Times bestselling author and founder of Wealth Factory. And let me tell ya, the viral secrets these powerhouse entrepreneurs dropped were pure gold.We laid it all out—from building real wealth to telling the truth online to making your content go viral (without a big team or big budget).So here's the download—straight from my mastermind notes—to help YOU Happy Hustle smarter, not harder.Segment 1: “Wealth Starts From Within” – Garrett GundersonLet's get real—wealth isn't just about stacking Benjamins.Garrett dropped this truth bomb: “Grow yourself before you grow your wealth.”So many entrepreneurs skip the meaning for the money. They chase outcomes, but forget the process. Garrett's concept?Life design is the foundation of sustainable wealth.Here's what hit home:Build your Human Life Value. Want more money? Add more value.Money is a reason, not the reason. Let that sink in.Design a meaningful life before you build your business model.Journal prompt: What does true wealth mean to YOU? (Seriously—try this.)Happy Hustle Hack:Don't build a business that drains your soul. Focus on impact, alignment, and fulfillment FIRST. That's the real flex. Segment 2: “Tell the Truth, Build the Tribe” – Sean WhalenIf you've seen Lions Not Sheep, you know Sean doesn't hold back.His strategy? Keep it 100% real.When I asked him, “How do you know what to share?”, he looked at me and said, “Everything.” Here's what I took away:Authenticity attracts. Share your scars and your journey.You'll be judged anyway, so share what's TRUE.Real > Polished. Activated energy > high production.Be polarizing. You're not pizza—you don't need to please everyone.Sean built a multimillion-dollar brand just speaking into his iPhone. No camera crew. No fancy edits. Just TRUTH.Over 1M garments sold, billions of views, and 51k+ coaching clients.Happy Hustle Hack:Challenge yourself—30 days of radical truth-telling on social. Reels, long-form posts, whatever. Build that trust. That's what creates traction.Segment 3: “Make a Movement, Not Just a Post” – Warren PhillipsWarren aka the Non-Toxic Dad is on a mission—literally. He's got 880k followers in 2 years, but it's not because of trends.It's because he's real, consistent, and deeply connected to his why.He shares 3 times a day, 6 days a week. But he didn't start there. He began with 3 posts a week. Progress, not perfection.Here's the sauce:Authenticity + Consistency = The Algorithm's Best Friend.First 5 seconds matter. Hook hard.Be relational, not transactional.Talk about what you LOVE. Share your quirks.Track your metrics, tweak what's not working.Educate. Entertain. Empower. (The 3 E's of content that hits.) Happy Hustle Hack:Batch your content. Plan on Sundays. Use your quirks, not just scripts. And remember: A thousand true fans can make you millions. As someone who's built the Happy Hustle movement—anti-grind, pro-life balance—I'm here to say:Stop trying to fit in. Start standing out by showing up as YOU.Whether it's podcasting, content creation, or just telling your story, your vibe will attract your tribe.Bonus tips from the mastermind:Humor increases memory retention by 3x. (Use it!)Text-message style headlines get clicks.Sell privately, give value publicly.One idea per video.Your content is your 2025 business card. Make it soulful, smart, and you.Entrepreneurship in 2025 isn't about chasing trends.It's about leading movements, being unapologetically YOU, and using social media to serve—not just sell.Connect with Cary!https://www.instagram.com/caryjack/https://www.facebook.com/SirCaryJackhttps://www.linkedin.com/in/cary-jack-kendzior/https://twitter.com/thehappyhustlehttps://www.youtube.com/channel/UCFDNsD59tLxv2JfEuSsNMOQ/featured Get a free copy of his new book, The Happy Hustle, 10 Alignments to Avoid Burnout & Achieve Blissful Balance https://www.thehappyhustle.com/bookSign up for The Journey: 10 Days To Become a Happy Hustler Online Coursehttps://thehappyhustle.com/thejourney/Apply to the Montana Mastermind Epic Camping Adventurehttps://thehappyhustle.com/mastermind/“It's time to Happy Hustle, a blissfully balanced life you love, full of passion, purpose, and positive impact!”Episode Sponsors: If you're feeling stressed, not sleeping great, or your energy's been kinda meh lately—let me put you on to something that's been a total game-changer for me: Magnesium Breakthrough by BiOptimizers. This ain't your average magnesium—it's got all 7 essential forms that your body actually needs to chill out, sleep deeper, and feel more balanced. I take it every night and legit notice the difference the next day. No more waking up groggy or tossing and turning all nightIf you're ready to sleep like a baby, calm your nervous system, and optimize your recovery, go grab yours now at bioptimizers.com/happy and use code HAPPY10 for 10% OFF.99 Designs- Need a killer logo, stunning website, or next-level brand design?Stop DIY-ing and start delegating like a boss with 99designs by Vista! Neurable- If you're looking to level up your focus, productivity, and mental wellbeing all at once, do yourself a favor and check out Neurable. You get a special hookup—just use the code HAPPY at checkout and get $100 off.

Send us a textHarnessing the Power of Daily Posts to Build a Seven-Figure BusinessGrab a Copy of the Build Your Audience Book Here: https://platformgrowthbooks.comWelcome to the Market Your Message Show with Jonathan Milligan. In this episode, Jonathan delves into Chapter 7 of his book, 'Build Your Audience,' titled 'The Daily Post Traffic Playbook.' He explores the inspirational story of Justin Welsh, who built a seven-figure business by consistently posting valuable LinkedIn content daily. Jonathan provides actionable insights on how to create and implement your own daily post strategy, including four types of engaging posts—Educate, Entertain, Empower, and Empathize. He emphasizes the importance of consistency, value-driven content, and genuine audience engagement while debunking common social media mistakes.00:00 Introduction: The Power of One Post a Day01:20 Meet Justin Welsh: A Case Study in Consistency03:37 Implementing the Daily Post Strategy04:20 Common Social Media Mistakes06:37 Steps to Implement the Daily Post Strategy08:52 Crafting Engaging Social Media Posts16:21 Today's Exercise: Creating Your First Template Posts18:36 Key Takeaways and Final Thoughts

If you have kids under the age of 7, you're going to love this episode! I've invited Kelsey Cook, founder of Learning with Kelsey, to share easy ways to entertain little kids. You'll Learn:Why you don't have to be involved in everything your kid doesHow to feel more playful and fun as a mom 4 ways to encourage play (and make it easy)My hide-and-seek hack for when you need a quiet moment

A & Jerry: How will Al entertain people at his appearance and what will sports radio be like in the future?--plus warm up To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

A & Jerry: How will Al entertain people at his appearance and what will sports radio be like in the future? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Today, I'm joined by James Kuczynski, Creative Director at Duolingo, and Dan Salkey, Founding Partner at Small World, for a conversation on how to build truly entertaining brands.Fresh off their SXSW panel titled "Entertain or Die", named after a report by Small World, we explore how Duolingo has built such a standout brand, particularly through the rise (and death...) of their iconic mascot, Duo.In the first half of the episode, I chat with James about Duolingo's brand success, why they decided to "kill off" their beloved mascot, and how giving creative autonomy to their team has been key to their growth. In the second half, I speak with Dan about the most entertaining brands in the world today—and the specific traits you can apply to make your own brand more entertaining.Download the Entertain or Die report here.Timestamps00:00 - Start00:47 - Part 1: James Kuczynski from Duolingo01:22 - James' background in marketing03:23 - How James joined Duolingo04:18 - What is Duolingo06:34 - How Duolingo has used gamification to help people learn languages09:47 - How is AI enhancing Duolingo?11:20 - Is AI a threat to Duolingo?12:13 - Why Duolingo created “Duo”, their mascot15:47 - How the Duolingo owl evolved17:56 - Duolingo's April fools plans20:00 - Why Duolingo killed off their mascot23:57 - The results of Duo killing their mascot25:08 - How partnerships have played a role in the success of Duolingo28:02 - How Duo is bigger than A-list celebrities29:26 - How Duolingo built such a huge social media following32:08 - The importance of being in-house for growing Duolingo33:17 - How Duolingo hires social media talent34:34 - The thing that makes Duolingo stand out36:32 - Part 2: Dan Salkey from Small World37:15 - Why Small World created the Entertain or Die report38:57 - How they identified the most entertaining brands on the planet39:30 - What brands are the most entertaining?40:41 - Why the most boring categories have most space to innovate42:35 - The entertainment gap44:07 - How can brands be more entertaining?49:54 - Final advice on how brands can be more entertaining

This week, we sit down with Kevin Brown, former CEO and one of the earliest employees of the renowned restaurant group Lettuce Entertain You, whose depth, variety, and consistent success have made it a cornerstone of the hospitality world. Kevin's creative instincts, quiet wisdom, and sharp business acumen have been central to the company's remarkable growth over the decades. He joins us in the studio to share insights into the evolution of Lettuce, the secrets behind its enduring appeal, and stories from his own journey — from accepting the job in the '70s while sitting in a car, to behind-the-scenes tales of Shaw's, to a look ahead at what's next for the company. This episode dives deep into what makes Lettuce a perennial powerhouse — and the people who keep it thriving.

HR1 - Mego and Scheim spend the first hour of today's show talking Pats draft. Should the Pats consider trading the 4th pick for a package including WR AJ Brown if the Eagles come calling.

This week I sit down to talk cognition and problem solving. It seems more often than not when I talk to people about problems the main blocker is they are thinking about it. Over thinking it. Needing to map an idea out and really detail through something. Which is one way of doing it. The other is to go the other approach. Stop thinking. Do something else. Watch something. Entertain yourself. Put your body through some stress. My theory is as a human we've have fight or flight and during moments when we are problem fixated you can use that fight or flight to cut through to what you truly want. So this week I cosy in and sit and think about the notion of just not thinking.The show is available on:Ituneshttps://podcasts.apple.com/us/podcast/yelling-at-concrete/id1238765054Spotifyhttps://open.spotify.com/show/3T2OhYE07edgaBDXrm86saAcasthttps://shows.acast.com/yellingatconcreteSupport us onhttps://www.patreon.com/yellingatconcreteIf you'd like to support at all there is a patreon and I have the goal of finding 38 members by the end of the year to make the show fully funded in terms of the running costs! It's only $1 or £1 depending on your location and means this can be a truly not for profit creation!Thanks for your time and Hope you have a great yearGraham Hosted on Acast. See acast.com/privacy for more information.

In this episode, Dan Salkey is back on the show to talk about their latest research paper called ‘Entertain or Die'. This is the second round and this time Dan shares some new insights on how to actually build an entertainment brand.Important links* You can find the full report here. * Find Dan on LinkedIn here This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit letstalkbranding.substack.com

Indulge in the best-of from the live, weekly Brunch-Hour with Two Brunettes & A Gay. Witty banter, lively satire and hysterical millennial discussions. Three 30-something Adelaideans, exploring local events and bringing you the best our city has to offer. Perfect for unwinding any time of the day, accompanied by your favourite bubbles. Follow us on Instagram. Give us a like on Facebook. Check us out on TikTok. CREDITS: Hosts: Aaron Collis, Celeste La Scala & Deanna Carbone. Panelist: Deanna Carbone. Content Warning: None. Two Brunettes & A Gay is recorded LIVE every Saturday @ 11am (Adelaide Time) on Radio Italia Uno 87.6FM. We acknowledge the Traditional Owners of the Land we have recorded this podcast on, the Karuna people. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures. See omnystudio.com/listener for privacy information.

Indulge in the best-of from the live, weekly Brunch-Hour with Two Brunettes & A Gay. Witty banter, lively satire and hysterical millennial discussions. Three 30-something Adelaideans, exploring local events and bringing you the best our city has to offer. Perfect for unwinding any time of the day, accompanied by your favourite bubbles. Follow us on Instagram. Give us a like on Facebook. Check us out on TikTok. CREDITS: Hosts: Aaron Collis, Celeste La Scala & Deanna Carbone. Panelist: Deanna Carbone. Content Warning: None. Two Brunettes & A Gay is recorded LIVE every Saturday @ 11am (Adelaide Time) on Radio Italia Uno 87.6FM. We acknowledge the Traditional Owners of the Land we have recorded this podcast on, the Karuna people. We pay our respects to their Elders past and present, and extend that respect to all Aboriginal and Torres Strait Islander cultures. See omnystudio.com/listener for privacy information.

Holy smokes where did April go? While some states are just now seeing their kickoff of the spring season, here at home, we are in the home stretch. It's been a fun one, as they always are, but man has it been odd. This week, we've got a whole new pile of fresh turkey stories to tell, some success and some failure, but hey, that's all part of turkey hunting. check it out! 

Welcome back to The Metal Maniacs Presents, hosted by your favorite riff-jockeys Jay Ingersoll and Modd. We're dropping into the pit once again for the 15th installment of our Reaction Series—where we hit play, throw horns, and dive deep into the latest from underground and unsigned metal acts around the globe.This week, we're getting blasted from every direction—Portugal, Greece, Ohio, Michigan, Texas, New York—you name it. We've stacked the lineup with a killer mix of blackened doom, death metal, thrash, horror, and even culinary chaos. Buckle in, Maniacs. This one's loud.

Dukes and Bell come back with some brief Falcons talk and share some thoughts on what direction the team will go in next week's NFL Draft. Then in 4th and 1, they react to reports Derek Carr's season may be in trouble, as he is dealing with an apparent shoulder injury. As they discuss, they share thoughts on the potential direction the Saints will address moving forward should Carr be sidelined including drafting Shedeur Sanders or turning their attention to veterans Aaron Rogers or Kirk Cousins, who they both agree should not be an issue despite being traded within the division.

With ample draft picks at their disposal and opportunity to win a title now, could the addition of Memphis Grizzles' star Ja Morant be on the table this offseason for Rafael Stone and Rockets? What could be the package headed back to Memphis? Does the deal make sense for both sides? Adam and Adam discuss the parameters on

Ignoring any unexpected offers to buy your business that might come your way is not in your best interest. But neither is dating all opportunities in desperation. David has four things principals should consider, whether or not you are actively looking to sell your firm.   Links “Should You Entertain That Offer?” by David C. Baker for punctuation.com 2Bobs London Meet-up on Thursday 8 May, 2025 at 2pm

Ninety-eight years ago, the Carolina Theatre was born. It closed in 1978 and has sat vacant for nearly half its lifetime — 47 years. Now, it's set to make a comeback. After years of construction, the theater has been restored to its former glory but also as a state-of-the-art masterpiece.

NFL DRAFT PARTY:  https://thednvr.com/event/dnvr-broncos-nfl-draft-party-and-live-show-at-stoneys-bar-and-grill/ The 2025 NFL Draft is getting closer, and the question is—should the Denver Broncos trade out of the first round? A **3-round CBS mock draft** has the Broncos stacking picks with a big haul. Would that be the right move for Sean Payton and George Paton?We also dive into **the craziest Broncos bets** we'd make for the 2025 season. Plus, we break down **the biggest AFC West storylines** as the draft approaches. How do the Broncos stack up against the Chiefs, Chargers, and Raiders heading into the 2nd-phase of a crucial offseason?Ryan Koenigsberg and Andre Simone break it down.**Like, subscribe, and drop your thoughts in the comments! Should Denver trade down?** Intro: 0:00Broncos trading down?: 5:57Options at 20 if you don't trade down: 17:00Best bets for the Broncos in the draft: 21:30Bo Nix's potential for 2025: 31:40 An ALLCITY Network Production PARTY WITH US: https://thednvr.com/events COLLEGE BASKETBALL TOURNAMENT MERCH: https://store.allcitynetwork.com/collections/merch-for-dnvr-college-fans ALL THINGS DNVR: https://linktr.ee/dnvrsports MERCH: https://store.allcitynetwork.com/collections/dnvr-locker SUBSCRIBE: https://www.youtube.com/c/DNVR_Sports Breck Brew Ice Deck Giveaway: http://breckbrew.com/icedeckMonarch Money: Use Monarch Money to get control of your overall finances with 50% off your first year at https://www.monarchmoney.com/dnvr  bet365: Go to https://www.bet365.com/hub/en-us/app-hero-banner-1?utm_source=affiliate&utm_campaign=usapp&utm_medium=affiliate&affiliate=365_03485318 or use code DNVR365 when you sign up. Must be 21+ and physically located in CO.  Please gamble responsibly. If you or someone you know has a gambling problem and wants help call or TEXT 1-800-GAMBLERUC Health: Learn more about Living Like There's A Tomorrow at https://www.uchealth.org/tomorrow/?utm_source=DNVR&utm_medium=Audio&utm_campaign=Brand_LLTIAT_Null_JFMFY25_AW_Null Empire Today: Schedule a free in-home estimate today! All listeners can receive a $350 OFF discount when they use the promo code DNVR. Restrictions apply. See https://empiretoday.com/dnvr for details  EveryPlate: With affordable dinners for just $5.99 per serving, PLUS 50% off your first box, EveryPlate helps you save money for a stress-free holiday! Get this amazing deal by going to https://EveryPlate.com/PODCAST and entering code dnvr599. Get Coors Light delivered straight to your door with Instacart by going to https://coorslight.com/DNVR. Celebrate Responsibly. Coors Brewing Company, Golden, Colorado. Download the Gametime app, create an account, and use code DNVR for $20 off your first purchase. Terms apply. Exclusively for our listeners, Shady Rays is giving out their best deal of the season. Head to https://shadyrays.com and use codeoadoutdoors.pxf.io/allcity: DNVR for 35% off polarized sunglasses. Try for yourself the shades rated 5 stars by over 300,000 people. Use code DNVRBRONCOS50 to get 50% OFF your first Factor box and 20% off your next month with any active subscription at https://factormeals.com/dnvrbroncos50. Check out FOCO merch and collectibles here https://foco.vegb.net/DNVRBroncos and use promo code “DNVR10” for 10% off your order on all non Pre Order items. Rugged Road: Gear up for your next adventure with Rugged Road Coolers - Your ultimate outdoor companion! Head to http://ruggedroadoutdoors.pxf.io/ALLCITY and use code DNVR for 10% off!   Hello Fresh - Get 10 FREE meals at https://hellofresh.com/freebroncos. Applied across 7 boxes, new subscribers only, varies by plan. When you shop through links in the description, we may earn affiliate commissions. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research. Fair use is a use permitted by copyright statute that might otherwise be infringing.

I have been looking forward to talking with our guest, Louise Baxter, for several months. I met Louise through one of our regular podcast guest finders, accessiBe's own Sheldon Lewis. Louise has always lived in Sydney Australia although she has done her share of traveling around the world. She attended some college at night although she never did complete a college degree. Don't let that prejudice you, however. Her life experiences and knowledge rival anyone whether they have a college degree or not.   While attending college Louise worked in clerical positions with some marketing firms. Over time she attained higher positions and began working as a brand or product manager for a number of large well-known companies.   At some point she decided that she wanted to bring a more human-service orientation to her work and left the commercial world to work in not for profit organizations. Part of her work was with the Starlight Foundation in Australia, but she didn't feel she was challenged as much as she wanted to be. So, in 2007 she left Starlight, but in 2009 the Starlight board convinced her to come back as the CEO of the organization.   Louise has brought an extremely positive thinking kind of management style to her work. Starlight in general has to be quite positive as it works to ease the burden of sick children in hospitals and at home. You will get to hear all about Captain Starlight and all the many ways the foundation Louise directs has such a positive impact on sick children around Australia. The life lessons Louise discusses are relevant in any kind of work. I am certain you will come away from this episode more inspired and hopefully more positive about your own life and job.       About the Guest:   LOUISE BAXTER is Chief Executive Officer, Starlight Children's Foundation. Louise has significant experience in senior roles in the commercial and NFP sectors and is described as an “inspiring and authentic leader”. In 2009 Louise returned to the NFP sector as Starlight's Chief Executive Officer and Executive Director. Louise's focus on exceptional experiences and relationships has seen improved metrics across all areas of Starlight. Louise is regularly asked to speak on topics such a positivity, organisational resilience, diversity, and innovation. She is passionate about the creation of organisational purpose and believes this is key to delivering maximum impact through people. She practices positive leadership and has been successful in developing high performing teams within a culture where change is embraced, and innovation is embedded.   Always thinking like a marketer…. Louise's personal journey and reasons behind the shift from corporate to the For Purpose sector. After more than 20 years in marketing and advertising in roles at ARNOTTS, Accor & Johnson & Johnson & in agencies such as Leo Burnett working on brands from Mortein to Coco pops, Louise's journey and the insights she brings as CEO are unique. The very first time Louise became aware of Starlight was actually doing a promotion for one of her clients (when she was in sales/marketing) who was partnering with Starlight. Just seeing the work of Starlight, made her feel so pleased that there was now something that changed and reframed the hospitalization and treatment experience for families like a family she knew as a child with a child suffering from leukemia.    The business acumen needed to thrive and succeed in the For Purpose sector. Often the perception is NFP is a step into the slow lane. Far from it. Louise refers to leading Starlight as if it is in ‘eternal start up mode' and bringing business acumen, finding ways to be efficient and driving growth.     Our business… is the business of brightening lives…. The business growth and success of Starlight since she began from 65 people & 120,000 positive experiences delivered to children, to a team of more than 300 delivering over 1million++ positive Starlight experiences to seriously ill children including more than 13,000 children's Starlight wishes granted.   Louise has lead Starlight through some of the most challenging times. Her positive impact has seen Starlight grow from strength to strength. Starlight enjoys a tremendously creative and innovative culture. Including ‘Most Innovative Company' accolade - an achievement which was achieved under Louise's Leadership.   Starlight Programs growth will be stronger over the next 3 years than it would have been without Covid as programs which Transform and Connect rebuild and programs which Entertain grow. As does fundraising as we layer our face-to-face events back over our digital innovations which have taken off.  We have our creative/innovative culture to thank for this. Stories of personal connections made with Starlight children & families who began their journey more than 20 years ago and flourished thanks to the work of Starlight, including now adults Nathan Cavaleri and Dylan Allcott OAM.   Over the years Louise has been personally involved in many of Starlight's fundraising campaigns, once literally putting her body on the line as she flew over the handlebars and was carried away from the cycling course injured on Great Adventure Challenge.     Storytelling is at the heart of Starlight's success, growth & behind the organisations' ability to connect its stakeholders to its purpose. Louise's has largely led this approach to drive advocacy, differentiation & brand recognition – now one of Australia's most recognised children's charities Passionate about DEI: One of the first things Louise did as CEO was to deliberately approach diversity at Starlight and this continues today. To effectively support the people & families we support, our team members need to reflect this. DEI is addressed at every level.. Inc Board & Exec split to Captains in SER.    Louise considers herself very lucky – her birthday is actually on International Women's Day: IWD, 8 March. She is an active member of Chief Executive Women, an advocate for female empowerment & equity and in incredible role model.   Ways to connect with Louise:   Starlight Children's Foundation Australia Website: www.starlight.org.au Louise Baxter's LinkedIn: www.linkedin.com/in/louisebaxter   About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/   https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi everyone. Welcome once again to unstoppable mindset where inclusion, diversity and the unexpected meet. It's a fun thing to say I am your host. Mike Hingson, our guest today is the CEO of the starlight foundation in Australia, Louise Baxter, we met Louise through Sheldon Lewis and accessibe, which is always fun. Sheldon is a good supplier of folks, and we can't complain a bit about that. It's a good thing. And so today we're going to learn about Starlight Foundation, and we're going to learn about Louise, and we'll see what else we learned. That's why it's often called the unexpected. Meet anyway, Louise, welcome to unstoppable mindset. We're really glad you're here.   Louise Baxter ** 02:04 Thank you, Michael, it's lovely to be here.   Michael Hingson ** 02:08 Well, why don't we start the way I love to start. Why don't you tell us kind of about the early Louise growing up and some of those sorts of things and adventures you got into, or anything that you want to divulge? Okay,   Louise Baxter ** 02:20 alright. Well, I live in Sydney, Australia, and have done my whole life I've traveled a lot, but I've remained here in Sydney. And so life in Sydney was just blissful. And I think what I remember most is just having fun with my friends. It was back in the day where, as a child, you'd leave home on your bike early in the morning, and nobody expected you back till later, often in the afternoon, before dinner, and we had Bush nearby. I can remember catching tadpoles I sailed from the age of eight. My father was a skiff sailor here in Australia and and I had my first time in a Sabo at age eight, we went to the beach a lot, so there was surfing and fun in the sun. I played a lot of sports. So I'm a netball player, which is kind of similar to basketball, but a bit different. I played squash, so a lot of things happening, a very busy life, and I grew up. And I think this is the important thing with parents who were not well off themselves, but were, I mean, we were. We had a lovely life, but they were always raising funds, and our house was a center for raising funds for people who were less fortunate, or that helping out with the local netball club and things like that. So, so I grew up with parents who were very committed to working hard but always giving back, even though they weren't, you know, high net worth people themselves. So I think that's, you know, a great basis for for who I am today.   Michael Hingson ** 04:18 So you went to school and and all those sorts of things like everybody else did. How did your attitude about dealing with people who were probably less fortunate than many and so on really affect what you did in school? Or did you really sort of hone that found that that that spirit later? No,   Louise Baxter ** 04:42 no, I was always involved at school and raising funds. And even, you know, it took us a couple of busses to get to the beach back in the day. So I was in a local youth group, and we made a decision to raise the funds so that we could have one of the fathers, so that we could. Buy a bus, have one of the fathers drive the bus and get us to the beach on Saturday in quick time. So always looking for ways to never taking no or that's hard for an answer, I suppose, always being able to be part of the solution and get things done. So that was happening while I was at school as well.   Michael Hingson ** 05:21 That's kind of cool. So you bought a bus so that everybody could get to the beach. How many people were there that had to get there and use the bus? We   Louise Baxter ** 05:28 had about 40 or 50 people. And during the school holidays, we convinced one of the, a couple of the parents to take us on a trip through far west into, I'm supposing, what into our outback. So we went into kind of desert type lands, and we camped and a shearing a sheep station let us sleep in the shearing sheds overnight. So that was quite an adventure as well. And we did that for one school holidays on that bus.   Michael Hingson ** 06:02 So was the the bus? Well, who owned the bus was it? Was it a school bus, or who owned it   Louise Baxter ** 06:09 the youth group that we, the group did fundraising? Yeah,   Michael Hingson ** 06:13 cool, yeah. That's pretty unique.   Louise Baxter ** 06:17 I have great memories of that with, you know, green tree frogs in the toilets. Whenever you went to use a bathroom, they were always there looking at you and all of those kind of funny things that you remember, you know, watching and learning farm life and seeing some of the animals sitting on the fence while they were being branded and castrated and all kinds of things, but from as a city kid that was that was really valuable,   Michael Hingson ** 06:47 pretty and unique, but certainly the experience was well worth it, as long as you embraced   Speaker 1 ** 06:53 it. Yes, exactly, yeah. So   Michael Hingson ** 06:57 does that bus still exist today? Or does the youth group still exists now with new youth, that's a very long time ago. Michael, well, I didn't know whether it might have continued with new youth,   Louise Baxter ** 07:07 no. And I, you know, moved locations in Sydney, so I'm not quite sure what's happening there. Now, it'd   Michael Hingson ** 07:14 be exciting if new youth came along and took it over, but yeah, things happen and things evolve.   Louise Baxter ** 07:22 I'm just gonna say their parents probably drive them everywhere now. Yeah, it's   Michael Hingson ** 07:26 gonna say probably the adventure isn't quite the same as it used to be. No   Louise Baxter ** 07:30 exactly,   Michael Hingson ** 07:31 and, and that has its pluses, I suppose, and its minuses, but there, there are also more scary things in one sense in the world now than there used to be. Don't you think,   Louise Baxter ** 07:43 yeah, there are, well, there could be, or maybe, maybe we know more about it now because of our media and communications. So you know, all the kind of predators that impact you as children were around then, I suppose the accidents in cars are up because use of cars has increased. So, yeah, there are. There are different things that impact people nowadays. But us human beings, we're pretty resilient and and we always work out a way through, yeah, well, there's also, there's also a story from my childhood that I think is very relevant for what I do at Starlight, and that story is that you know how you have those family friends, who you grow up with, and you go on holidays with, etc. Well, that family for us, their eldest son was diagnosed with cancer, and back then, survival rates for cancer were very different to what they are today, and much lower. And he died when I was about 12, but as a child, I observed him suffering the pain of the treatment, and there was nothing like Starlight back then. And I saw also the impact that his illness had on his family. And I often think back to him, to those moments now that I'm at Starlight, because Starlight would have changed that situation and made it very different and far more positive for that boy and his family, and I think about about him and what they went through kind of regularly. So it's one of those things that's a childhood. It's a lived experience from my childhood, which, you know still kind of resonates with me today.   Michael Hingson ** 09:44 Well, yeah, and you know, we're, we're constantly evolving. So you can, you can think about that, and you can think about what might have been, but at the same time, the the real issue is, what have you learned? And. How can you now take it forward? And I think, as I said, that's all about embracing the adventure,   Louise Baxter ** 10:04 absolutely, absolutely and so absolutely take that forward,   Michael Hingson ** 10:09 yeah, which is really what you have to do. So you went to college, I assume, yeah.   Louise Baxter ** 10:15 And I actually went part time at night, so I actually went straight into a work environment. And for an organization, and was in the marketing team, just doing basic clerical work, and then I studied part time at night, so did a bit differently.   Michael Hingson ** 10:33 Yeah, well, did you end up eventually getting a degree? No,   Louise Baxter ** 10:37 I have no degree. Which is, which is something that's not, is very unusual in the United States. I know, oh, I don't know   Michael Hingson ** 10:49 that it's that unusual. But the the other side of it is that what you learn and how you put it to use and how you evolve is pretty significant. And that's, of course, part of the issue. Not everyone has a college degree, and sometimes the people with college degrees aren't necessarily the the brightest spots in the constellation either. Absolutely, it's,   Louise Baxter ** 11:13 yeah, there's a lot through lived experience, but I have, yeah, I've studied at various times, and most recently, I was awarded a scholarship. And I've had the experience of doing two short courses at Stanford University in the States, and I'm now on the board of the Stanford Australia Foundation, and so that's been a wonderful experience as a mature age student.   Michael Hingson ** 11:42 That's fair. Yeah, I just recently was inducted into Phi Beta Kappa, which formed the chapter at my university the year I was leaving, so I was able to go to the organizing meeting, but that was it, because then I got my master's degree and left and through circumstances, it was learned that all that happened. So last year, I was called and asked if I wanted to become an alumni member. So I got to be so I finally got to be a member of fraternity. Well, there you go. Congratulations. Well, it's a lot of fun, yeah, and I, and I treasure it and honor it a great deal, and spent a day down at my old university. I haven't really spent a lot of time there since graduating, well, back in 1976 with my master's degree in some business courses. So it's been 48 years. So there you go. Time flies. Well, so what did you do? So you you were working in the marketing world, in a clerical sort of thing, and what did you do from there? I   Louise Baxter ** 12:55 then became an assistant brand manager, a brand manager or product manager, whatever you want to call it, and I worked at Reckitt and Coleman. I worked at Johnson and Johnson and at Arnot snack foods. And Arnot snack foods was interesting because it was a joint venture with Pepsi foods from the US, because they were interested in the biscuit technology from Arnott's, and Arnot was interest interested in their snack food technology. And so what we had was a situation where we were sharing our expertise, and as a result, I was on the team, and we launched Cheetos, Fritos, Doritos into Australia, so they didn't exist here prior to that. Obviously Johnson and Johnson also, you know, big multinational, as is reckoned and Coleman. And then, after a number of years working on client side, I decided I wanted to move to the agency world. And I moved to Leo Burnett advertising agency, where I stayed for a decade. I was on the board there. I managed accounts like the Proctor and Gamble and kill on businesses as well as local businesses like tourism businesses and and wine so hospitality businesses here in Australia, very big wine company and and also the United distillers business back then. So had a lot of experience from both the client and agency side of working on big brands and growing big brands, which I absolutely loved, and we had a lot of fun, you know, along the way, in those days at all of the organizations where I worked, I made a lot of friends, and it's always important to have great friends from those experiences. And then I considered I actually left after i. Left Leah Burnett, I started an agency with two other people that's called Brave New World, which still exists to this day. I haven't been part of that for a long time, and then I had this moment of considering that I could potentially do something more worthwhile with my skills than than selling the products I'd been selling for all those years, and that's when I first made the decision to move to the what I referred to as the profit for purpose sector, and moved to Starlight in a role, and at that time, that was just a six month maternity position role. And I did that because I had great experience of brands from the client and agency side and promotions, so above and below the line. Promotions. I had worked on promotion supporting charity so cause related marketing campaigns. And I felt that the one thing I was missing if I wanted to go back into a corporate, into a corporate social responsibility role. Was that experience of working in a charity, and so I thought at that stage that my, my of journey was going to be back to a corporate because at that time, if you think this is over 20 years ago, triple bottom line was, and the third sector was really becoming important to organizations and to corporates. And so I thought I'd take my skills and go back to a corporate what I did instead was I went to starlight, as I said. It was a six month contract, but after three months, then CEO came out and said, What would it take to keep you here? I loved what I was doing, and I stayed at Starlight. I did stay for six, seven years. I then left and went back to corporate world, and I came back to starlight. So I left at the end of, what am I of? I left at the end of 2007 I came back in 2009 so I had that experience of back in the corporate world, and I came back as a CEO. It's   Michael Hingson ** 17:20 interesting. You started out in, as you said, in clerical work, but you started out in marketing, which, which you liked, what, what caused you to do that? Why marketing? Why marketing and sales, if you will?   Louise Baxter ** 17:33 Well, I love, I love marketing. I love brands, and I love the fact that, you know, brand is a living and breathing thing, and you can grow and change a brand. And I love, I love all the learnings around consumer insights. That was my specialty within marketing. So actually understanding that consumer behavior, and what I say about marketing is it's, it's hardly rocket science, because if you look at a young child, they recognize that they speak differently and use different language and words, etc, when they're speaking to their friends, when they're speaking to their grandparents, when they're speaking to their teachers, when they're speaking to their siblings, and so already, the concept of I have a different consumer in front of me, and I need to change my language and what I'm saying and my communication skills. Need to tweak. A child understands that from a very early age. So when I think about marketing, that's what you're doing the whole time. You're changing what you're the what you're saying and the way you say it, so that you engage more strongly with your consumer, and that's what I love about it, because communication is just so powerful, and you can take people on a journey. I'm also you know you can change behavior before you change the attitude, but ultimately you can move people and kind of change their thinking and their their their habits.   Michael Hingson ** 19:11 What's a really good example that you participated in of that I love a marketing story, loving sales and marketing as I do, I'd love to hear a good marketing story. Um,   Louise Baxter ** 19:22 well, there's, there's, there's quite a few. And I'll, I'll give you one. There was, I used to work on all the roads and traffic authority business, and at that stage, we were responsible for handling all the campaigns, from speeding to seat belts to drink driving, etc. And what was really powerful about those was your results were that every day you came into work and the road toll was there, and the road toll was, you know, up or down. And to work on campaigns which, over years, reduced the road toll because of the messages that you would keep. Communicate to people about speeding, etc. So whether people believed that they should be going, if you know, 10 kilometers slower in that particular zone or not, the messages of you know of penalties being caught, whatever the messaging you used to slow them down in that moment worked, and that saved lives. So, you know, that's, that's an example. I also worked on brands such as Special K, you know, and and for me, seeing, we created a fantastic campaign here that ran for about 20 years, and it was based on the the traditional Special K ads where women would wear clothes that they had years ago. And this one was about a mini skirt, but it was done in such a way that the woman was Stuart was the strength in the TV commercial. She was the lead. And that grew the business, and grew Special K at that time, at like, three times the market average for any, you know, product growth. So to see those things, and what I love is the results. And you you get it very strongly in those moments and and it's exciting.   Michael Hingson ** 21:17 You mentioned having been involved with working with Fritos and so on, which strikes a nerve when I lived in New Jersey, somewhere along the way, ranch flavored Fritos came into existence, but they didn't last very long, and I miss ranch flavored Fritos   Louise Baxter ** 21:34 we used to do when I worked on those snack food brands. We did so much testing and to to create tastes that are suitable, because tastes do change significantly, you know, region to region, and so ensuring that we had exactly the right flavors that would resonate and and sell here was really important to us. But along the way, we had some shockers, and we did have a lot of the specialist from FRITO lay in the states out working with us to craft those flavors. So we eventually got ones that worked here and for this region.   Michael Hingson ** 22:13 Yeah, and I'm sure that that must be what what happened that ranch flavored Fritos just didn't sell enough. In   Louise Baxter ** 22:20 cell Michael, you didn't have enough friends,   Michael Hingson ** 22:23 I guess not. Well, we didn't know enough people in New Jersey. What can I say? But, but we contributed as much as we could. My wife and I both loved them, and we we bought ranch flavored Fritos every chance we got. But unfortunately, that really probably wasn't enough to keep it going. So we, we mourn the loss of ranch flavored Fritos. But you, you did that, and it's interesting, because if I were to bake this observation, in a sense, although part of your job has changed, part of your job hasn't changed, because it's still all about marketing and educating people. Of course, now you're on the not for profit side, but that's okay, but what you're doing is teaching and educating, and now you're doing it for more of a social cause than a profit cause.   Louise Baxter ** 23:21 You're exactly right what we're doing every day because is, we're marketing our organization, and it's all about communication, and that communication might be very different with, you know, high net donors to community groups who support us in terms of how they connect with us. The impact stories are the same, although you also learn that certain individuals might prefer programs that support children, or might support prefer programs supporting older people, older children, or might support programs that support our Aboriginal and Torres Strait Islander children. And so you learn that through all your discussions. So it's all about hearing, because marketing is about really listening and and so I am still, you know, everything we do is about really listening and really hearing from the kids and the young people we support. You know, we need to listen to their situation and what, from our program's perspective, is working for them. So I feel it's very, very similar to what I did, because I was a product manager, so I was always listening to our customers to create more relevant products, and then communicating to people so that they we could sell those products. And the difference here is, back then they were the same people, so you would listen to your customers, then you'd be selling to them. And now what happens is our customers are the children and young people who are seriously ill and hospitalized, and our customers, the people where we're getting the funding from, are the donors who. Support those programs. So you break it into different groups, and we have far more stakeholder groups that you're managing in the profit for purpose sector than you do in the for profit sector. But that keeps it   Michael Hingson ** 25:14 interesting Well, so what is in in what you're doing today? And I'd be interested to to hear a contrast. But what does what does success mean to you today, and what did success mean to you when you were in the marketing world?   Louise Baxter ** 25:30 I think that that's always, you know, being the best you can be, and achieving the the metrics you need to achieve. So that's not changed, and always having really positive relationships with, you know, and partnerships. So for me, none of that's really changed. And I think that, you know, authenticity is very, very important. And so I constantly say, you know, with me, what you see, what you get, I'm the same person, no matter if you're a friend, a colleague at work, whatever, and I think that makes life much easier than if you were different people in different spaces. So I think there's a there's something that's very consistent about that. And I, I am that kind of person who doesn't take no for an answer. It's just okay. That's that's a bit trickier, but how can we get that done? So I'm always, always been solution focused, and I think that's been that's really important. And I think, you know, Obama has made comments about the type of people he wants to employ, people who get stuff done, and that's that's exactly me, and who I look to work with. So none of that has changed, but for me, it's now incredibly important. We're changing lives every day, and I think that what Starlight does in this country is we believe that that happiness in childhood matters, because happiness in your childhood is the strongest determinant of how you perform in your education, your employment, and with long term healthy life behaviors, children who are seriously ill have their ability to be happy significantly impacted. And so what we do is we sort support them with a whole range of programs. And I can talk about our theory of impact, but it builds their well being and resilience. And I know that that that you talk a lot about, you know about fear, and I think resilience is that thing that that gives you the strength to move through those things that may be frightening to you at some stage, and kids who are seriously ill are going through so much that is unfamiliar and frightening to them and painful. And so Starlight has been creating programs which are all about positive psychology and built on the tenants, if we can build, if we can distract a child by something that's positive help them to look forward to something positive. On the other side of treatment, it changes their engagement with their health care, and it changes their health outcomes for a positive and so that's incredibly important, and we were using this a decade before Martin Seligman even coined the phrase positive psychology and and now as as clinicians recognize, and they've recognized this for a long time, but are increasingly recognized the ways this this can be used to create improved health outcomes. And let's face it, you know, healthcare is one of the most innovative, fast moving sectors you can possibly work in, and clinicians have changed and improved health outcomes for every illness and disease you can possibly think of, and that's amazing. And so Starlight has been part of that improvement in healthcare, but the recognition that your mental health and well being is completely connected to your physical health and well being. And so while the doctors and nurses the clinicians look after the physical Starlight is engaging with the child within the illness and helping to lift their spirits, support their well being, resilience, giving back that joy of childhood. Because, you know, a clinician once said to me, Louise, in treating their illness, we steal their childhood. And so what we're about at Starlight is giving those kids back their chance to simply be a child and have that fun of childhood, which is where we started this conversation. You know, childhood should be about fun and having no inhibitions and not worrying, not a care in the world. And children who are seriously ill live in a very kind of adult world where they're dealing with concepts such as life and death. And that's not where any child should really be.   Michael Hingson ** 30:05 So when you're when you're dealing with a child, what, what? What do you do to bring the child back to the child, if you will, as opposed to all the the challenges that they're going through? Because certainly, when you're dealing with a disease like a cancer or whatever, it is, a very tough thing. So how do you bring that child back to being able to be a child at least for part of the time?   Louise Baxter ** 30:32 And that's, that's, you're absolutely right. It's about moments, because, and we talk about moments which matter. You can't do it for 100% of the time, but if you can lift that child and distract them and take them away from that, even if just for a moment, it changes everything. And I, I we have a whole range of programs that cater for this, in hospital and also in community. And last year, we created nearly 2 million so it was 1.9 million positive Starlight experiences for children. And that's the way we talk about it, because they're all so different. But we work in three general areas, and that is, we transform, we work in partnership with the clinicians to transform the healthcare experience, and we even build physical spaces in the hospitals, all the children's hospitals in Australia, which are manned by a character called Captain starlight. So we employ nearly 200 Captain starlights, who are all professional performers, and they work with the children, and they engage. They don't perform, but they use performance skills to engage with the child and the child's imagination, because a couple of things about children is that they are in they have incredible imaginations, and they are also easily distracted. And one of the things about most parents is they they try to work out how they keep their child focused? Well, we use the fact that children can be intensely distracted for good. So, you know, for example. So talking about that transforming the healthcare experience, some of our captain starlets will actually work in a treatment space with the clinicians, and they know how the treatment is going to unfold. Not so they could ever perform the treatment, but be so they know when to distract the child, when to keep the child very calm, etc, throughout that procedure. But let's say it's a burns dressing change that to a child. The pain of having a burns dressing change is like having your skin removed every time the dressing has changed, and what we do is we have our captain starlights there, and children don't have the psychology of pain in their mind. They will be intensely distracted, and their pain threshold then increases by up to 75% by simply distracting them, which means then they don't need to have an anesthetic for their treatment, which means that that child may not have to stay in hospital overnight because of that anesthetic and etc. So by using the power of a child's mind engaging with them, we can change that scenario. They won't feel the pain. Now, for an adult, that sounds weird, because if we were having that burn stressing changed on an arm, even if someone was distracting him, we'd be waiting for the pain, whereas a child just gets absorbed in the distraction and is not waiting for the pain. And so that's the difference. So we transform the healthcare experience, we provide opportunities for children to connect, because social isolation is one of the key issues associated with serious illness and treatment. They're pulled away immediately from their local friends and family, often into, you know, a hospital that's in the city, and that's the way our healthcare system works. The big children's hospitals are in the cities. The kids come out of regional areas and into that so they're away from everything, all their friends that their bedroom, everything that's familiar, and so that social connection is really important. That's part of what we do in our Starlight Express rooms, which are in every Children's Hospital. They also are TV stations within those hospitals and broadcast to the bedside of the child. So if the child's too sick to come into the Starlight Express room, they can be part of that and have that social connection from their bedside. So quizzes, for example, are really important for us, and we run a quiz every day, and sick children have lost that ability to compete in so many ways and have fun and have that little banter that you have with people when you are competing. Yet a quiz brings that all together. And we often have, we always have prizes, but it means a child in their bed who can't physically come into another space with another child for issues in terms of their illness and and. Um and infections and cross infections, etc, they can still be involved, and they can win the quiz, and, you know, be on television and chat with the other kids. So those things are very important. And we also promote entertainment, because entertainment is a great way of of distracting children. And so we talk about what we do. We transform the healthcare experience. We provide social connection that's so missing, and moments of entertainment. And our program sometimes deliver all three, but they're created for one specific reason, and so we're all about having fun. And for me, when I see a child come into a Starlight Express room, especially a child who's recently been diagnosed, you can see they're often in a wheelchair. They're holding an IV drip. They have their head down, their shoulders down, they have the weight of the world on their shoulders. They're looking like no child should ever look and you see this child come into our space and start to lift because a Starline Express room is a haven away from the clinical nature of the ward. They start to lift. They see the space. They see the captain starlights, and for me to observe that same child, 510, 15 minutes later, roaring with laughter, completely forgetting where they are and why. That's the power of starlight, and that's what we do through all our programs every day. And that moment lifts that child and gives them, builds their resilience and gives them the ability to go back into that next round of treatment, surgery, etc. So it is in that moment, and it changes everything.   Michael Hingson ** 36:40 How does the starlight experience differ in America and our healthcare model here as opposed to in Australia? Do you have any idea?   Louise Baxter ** 36:52 Yeah, well, we have, we man all of the spaces in our hospitals. So the hospital, when a new hospital is being built, they they they allocate a section that is the Starlight Express room space. We then build the Starlight Express room, and these are quite large spaces, and then we man it with our own paid team members and volunteers that would never happen in your healthcare system, just with legal issues and liability, etc, you'd never see that happening in in America. So that's, I think, the key, the key difference from things that we do in Australia, we also are a wish granting organization, and we are the largest wish branding organization in Australia, and we have programs called we have a program called Live Wire, which supports young people, so teenagers and up to the age of 20, and that is in hospital. So we then don't have Captain starlights. We have live wire facilitators, and then we have live wire online. We also have a virtual Star LED Express room, which we created and trial during COVID. Because obviously everything around the world and definitely in Australia, was in lockdown, and our programs were an essential service in the children's hospital, but we were restricted, and so we'd been toying with the concept of a virtual Starlight Express room for a long time, and so we used COVID as that opportunity to trial that, and we trialed it. It was very successful, and we're now rolling planet Starlight into every hospital across Australia. All people need there is a QR code. And so we put up beautiful posters, which are also games that kids can play that has a QR code, and they can go directly to Planet starlight. And planet Starlight is set up has live shows of Captain starlights during the day, but also games kids can play directions, how to do art. So if a child's seriously ill, but at home or in another hospital, they can do all of this stuff. And it's it's not that you need a full tank kit. We do it and understanding that children will be able to work with what they have that's near to them. We even have things like I spy for an emergency room space so that kids can stay distracted, no matter what part of a hospital they're in. We also now support families who are in at home palliative care, because 70% of children in this country who are in palliative care are at home. That's not necessarily end of life palliative care, but palliative care can go on for a number of years, and those families are incredibly alone and isolated, and so our Starlight moments program delivers things to uplift that family and have them know that someone's thinking of them during this time. And. Again, it is those moments which really, truly matter.   Michael Hingson ** 40:05 So, um, how did what? What do you know about how it works here, or what actually happens in America? Do you have any real notion about that? I mean, I understand all the legalities and all that, but how does it differ what? What do they do here to be able to foster that same kind of climate. Yeah,   Louise Baxter ** 40:22 they're still about happiness matters, right? Which is fantastic, and they do that with, I'm trying to think of the name now Fun, fun boxes that they have delivered into hospitals with toys, etc, for kids. In some hospitals, they are able to do a refresh of a playroom to make it a starlight space. But it's then not like ours are manned every day with team members. They have little carts that help kids transport round the hospital. So yeah. So they have a whole range of things that they can do within the limitations of the different health system. It   Michael Hingson ** 41:06 must be a real challenge to keep up the spirits of all the people who work for starlight. How do you keep a positive work environment and keep everyone moving forward and hopefully reasonably happy in what they're doing, because they they have to see a lot of challenges. Obviously, yeah,   Louise Baxter ** 41:26 we we're authentic with our commitment to positive psychology. And so getting close to 15 years ago, we started working with a group here in Australia called the positivity Institute, and we started training all of our team members. So every team member who joined Starline is trained in the tools of positive psychology, because you're absolutely right. And I use the airplane analogy, you know, if the plane's going down, you're always told that you put your you have to put your oxygen mask on yourself, because if you don't put it on yourself, you're of no use to anyone else, and POS, psychs like that, you have to care for yourself. And self care is so important, because if you are not caring for yourself, and if you are not topping topping up your own cup, then you're of no use to support and coach and help other people, and so we have positive psychology is the one authentic thing that, just you know, moves right through our organization. It's at the heart of everything we do for the children and young people. And importantly, every question we ask ourselves about every business decision is, will this improve the way we support the seriously ill children and young people, yes or no, and then what we do is we carry that through, because for us to be able to provide the support we do, and you're absolutely right, working often in very challenging situations, we need to know how we can look After ourselves. So POS site flows through the whole organization, and we are an organization that is a great place to work in Australia, there's actually, you know, a survey that's done annually, and corporates and other organizations are ranked, and we're always in the top group of performers there. So it's, it's also very critical to maintain a high performing team, because we need to be sure of able to have our team bring their best self to Starlight every day. And that's what post psych does for us. How does   Michael Hingson ** 43:37 that work? What? What do you do? I mean, you, you obviously have people who go into situations and they get hit with so many sad sorts of things, but obviously you're able to bring them out of that. How do you do that? Well,   Louise Baxter ** 43:52 as I said, Everybody's trained up front and recognizes the tools or has the toolkit for prossite, but we don't just leave it there. So the people who are working in hospitals have daily debriefs. They have a support crew from an employee assistance organizations who work with them. That's the same person who works with those teams. So they then have weekly debriefs, monthly, quarterly. So we're onto it. It's, it's, it's a, May, it's a, it's a, it's very strategic in the way we support them, and it's very considered. And so that support is there for people on a daily basis. So   Michael Hingson ** 44:35 you, you, I'm just thinking of a question I'm going to ask, you're doing a lot with children and all that, which I think is really great. Is there any chance that this kind of approach could also work for older people, adults and so on?   Louise Baxter ** 44:57 Absolutely, and it. It would also work. I mean, we're working with seriously ill, right, and hospitalized children, but it would also work with group, other groups of vulnerable children. So, you know, happiness and positive psychology is something that works for everyone, quite frankly. And so one of the things that's a side benefit of starlight being in a hospital is it lifts the morale of the whole hospital team. So the hospital, the hospital team, is happier. Because if you think of working in a children's hospital, if Starlight was not there, it can be a pretty dour place, and the challenges are every day, but with starlight, they're lifting the spirits, having fun, being silly. It changes everything for the clinicians I know, I've been at the door of a lift, an elevator, as you would say, and and before the lift, the doors open. A doctor who's been waiting there, notices that two captains walk up to hop in the elevator and and the doctor will say, I'm taking the stairs. I never know what those guys make me do between floors, but laughing. So you know, our captain starlights are about that fun. And the thing about Captain Starlight is they come from Planet starlight. So there's a mythology around them, and they fly to planet earth every day in an invisible rocket ship that lands on the roof of the Children's Hospital. And the great thing about this is that the children are then in the gun seat in because they understand everything about Planet Earth, and the captains don't. So the planet the captains will do silly things like pick up a pen and use it like a telephone and go, Hello, you know. And the children will go, No, not that. So it's that merge of slapstick and kind of vaudeville and the child engaging with the child. But they will, can they? Our captain? Starlets will do that silliness with doctors and nurses too, which is also hilarious. And that's the comment from the captain from the doctor. So Right? It keeps the morale of the entire hospital, because, you know, it changes from having children who are crying and distressed and frightened to children who are roaring with laughter, um, despite the fact that they're seriously ill, that's great.   Michael Hingson ** 47:25 How can we bring that to adult patients?   Louise Baxter ** 47:29 Well, do you know what I've been working or I've been walking with our captain starlights as they've had to move through an adult part. You know, some of our hospitals are adults and children's and then the youth are on the other side. As we've walked through, an elderly person stopped and said, Hey, captain, could you sing me a song? And so they had their ukulele there, and they launched into, you are my son. I think he might have requested, You are my sunshine. And you can see immediately the change in the person. So it, it is something that definitely works, but at the moment, we don't have the funding to meet all of the need that we have for children and young people. So while it's, you know, potentially a great concept, it's, it's not something that we can move into in the the immediate future. Yeah,   Michael Hingson ** 48:24 and you can only do what you can do, but it would certainly, it would seem to me be exciting if people would bring more of those programs to adults too, because adults could could use it. And I'm sure you know that I'm not saying anything magical at all, but I would think there are ways to bring a lot of this to adults that would help lift their spirits. I know when my wife was in the hospital, it was very boring for her. Now she was in a wheelchair, so she was in a chair her whole life. So she had other challenges being in the hospital when she needed to use a restroom or have help with a bedpan, sometimes it took a while and so on. So just a lot of things that could have been better for her, that I think would have made her experience better. And I realized that she was probably, in a sense, a harder case than some, but still, it would just be so nice if we could do more to help all of the different kinds of patients in hospitals and make it a better experience for them.   Louise Baxter ** 49:23 Yeah, that's that's what we're doing about, about changing that healthcare experience,   Michael Hingson ** 49:29 yeah. What about the whole concept of diversity, equity and inclusion and so on? How do you deal with a diverse population? So for example, in all the things that you're talking about, what if you discover that one of the children that you're dealing with is blind in the hospital? How do you adapt so that they get as included as other people in the things that you're doing? Yep,   Louise Baxter ** 49:53 we have. All of our team are trained in dealing with. Children who are blind, who are deaf. We actually recently had training, and we had our captain starlights. They were all blindfolded, and they were going through sensory experiments to teach them how they can better use sound and other things to work with children. So So our team is trained across all of those different areas, because you're right every day, we do deal with children who are deaf, who are blind, who are in wheelchairs, who are non verbal, who are on the autism spectrum, but all of those things. So we have to have teams trained. Our team is trained to understand how they can deliver an exceptional experience to those children, as well as children who don't have those differences. So   Michael Hingson ** 50:56 clearly you have a we got to get it done. Got a really positive attitude to get things done. Where did you learn that attitude? Because that's a very positive thing that I think more companies and more people in general ought to learn. The whole concept of, we're going to get it done no matter what it you know, I don't want to say no matter what it takes, but we're going to get it done, and we're very positive about that. Yeah,   Louise Baxter ** 51:25 I'm not sure that I learned it, but I think that there are people in life who you see that way. I always, I always jokingly call it waiters with their heads up, because, you know, you see when you're in a restaurant often, there's those people who walk past your table and don't pick up the dirty plates, who aren't looking for things to do. And then there are those other ones who you can see are going from table to table, doing stuff everywhere. And I always say they're the people I want to employ, the waiters with their heads up. So I think it's an attitude you have in life. And you can either kind of say, well, that's a challenge, and that's difficult, but how can I get that done? Or you can say, well, that's difficult. I just won't do that anymore. And and, you know, we need people who want to get stuff done and who always have a pot and having a positive attitude just makes you feel so much better than dwelling in the negative. And you know, I hate people who are always who those negative Nellies or nets or whoever they are, and they bring you down. So positivity is something that I think helps all of us every day. And why wouldn't you choose to be positive? Yeah,   Michael Hingson ** 52:37 and it is a choice. And the reality is that no matter what goes on, I think we can choose to be positive. One of the things that I've been saying for many years, that I learned because of the World Trade Center, basically, is don't worry about what you can control. Focus on what you can let the rest take care of itself. We're so worried about every little old thing in the world that we don't tend to be positive about anything, and that doesn't help any of us. No,   Louise Baxter ** 53:07 I think that being positive is so incredibly important. It makes you feel better and happier, makes everybody around you feel better and happier. So why wouldn't you do it? And I actually use this at Starlight too, because sometimes team members like you reach a point in your in your work life, and I did. I left Starlight because I needed a new challenge, and Starlight didn't have that challenge for me. So why hang around and become that disgruntled person in the corner who's just trying to pull everybody else into their negative little corner and finds fault with everything the organization does. Why would you stay? You know, and if you leave in that instance, you go to somewhere where you can contribute, and you feel great. You're doing a great job. The organization gets someone into your role who really wants to be there, and all that negativity stops. So in positive psychology, the end game is flourishing. And so I jokingly say at my team all the time, if you don't want to be here anymore, if you're not feeling challenged, please go flourish somewhere else. Don't stay here and become that negative person who tries to bring everyone into their negative corner. It's just not good for you or anybody else. So, yeah. So, so the Go flourish somewhere else is a bit of a joke that people say they're going to have printed on my coffee mug at some stage.   Michael Hingson ** 54:30 Well, you went away, but you also came back. That's   Louise Baxter ** 54:34 right, that's right. And so I went away because I needed a new challenge at that stage. And that challenge, potentially, was the CEO role that it wasn't available then. So I went and I did something else that I loved. And then, you know, the board came back to me some time later and said, Would you come back as CEO now? And I said, Yes. So there you go. And then I'd had a different experience, which actually helped. Me to be a better CEO. So as you say, if you're always moving forward, if you don't get hung up about things, and if you choose positivity, that really can set you up for a much better life. What   Michael Hingson ** 55:13 are some of the challenges that Starlight is facing in Australia today?   Louise Baxter ** 55:19 I think that for us it's a nice challenge, because as clinicians recognize the power of positive psychology and the power of the mind in improving health outcomes, they're very creative, and they're coming up with more and more ideas as to how star lack could be used, but we can only deliver if we increase our funding. And obviously, I think globally, communities are under pressure financially, and so those things kind of don't work together. And that's that's a challenge for us. I think we live in a world of increasing complexity and compliance and and we need to within that, ensure we meet the requirements and the criteria, but we do it in the simplest possible way, because simplicity is better for your mental health. It's more effective and efficient. And so sometimes within the the complexity of compliance, people are on making things even more bureaucratic than they need to. So really keeping things simple, I think, is is important against the backdrop of what's happening. And the exciting thing is we work in the sector of health care. And health care is always changing, always improving and and that's a great thing to be part of. What   Michael Hingson ** 56:48 do you think are well, what would you tell somebody from, let's say, one of your former jobs in marketing and so on, what kind of advice would you give them based on what you now know as being the CEO of starlight, for, my gosh, what? For 15 years, 14 almost? Well, 15 years, yes, almost 16 years. Yeah,   Louise Baxter ** 57:10 I think that. I think people have to be true to themselves. You know, you have to be authentic. Choose positivity is something that I would always give advice around, because, as you said, it is a choice, and I fail to understand why everyone, anyone would choose the negative, yeah, side of that equation and really focus on getting stuff done. So never sit back and be lazy. Always be working to be that, that person who thinks about themselves others and cares and gets it done,   Michael Hingson ** 57:55 yeah, we we spend way too much time, because I think we're taught so much to be negative when we don't get taught nearly as much about being as positive as we can be. I know that my parents were always encouraging to me and my brother. I'm not sure my brother always got it quite as much as I did in terms of understanding it, but we were, we were taught that positivity was a choice. We were taught that being innovative and moving forward was a choice. And we also were encouraged to make that the choice that we made too, which is part of the issue, yeah,   Louise Baxter ** 58:37 excellent. And the other thing is, I would say, Do not be a perfectionist. I'm an anti perfectionist. Yeah, I agree. It gets you nowhere. Doesn't exist. And you know, especially in this day, where we can move, and we're very agile, kind of, I say 70% out, because if you say 70% and out, it means people will probably go to 80 or 90% but those people who, if anyone in a in an interview, proudly tells me they're perfectionist, they're gone because all they do is drive themselves and everyone around them crazy. So I don't want to have them in the organization. It   Michael Hingson ** 59:17 seems to me that the thing to say is that I will always do the best that I can do, and I will always give at least 100%   Louise Baxter ** 59:25 Absolutely.   Michael Hingson ** 59:28 Yeah, perfection is something I don't think most of us understand anyway, but if we give it our best, probably we'll achieve perfection, in a sense,   Louise Baxter ** 59:37 yeah, and get it done and get it out, get it happening, right? Because the thing is, if it's not, if it's, you know, if it's not, if it's not perfect, you get it out and you get to use it, and you learn so much more. So you got actually a better shot at getting it towards it. You can tweak it after,   Michael Hingson ** 59:55 yeah, well, well, market, well. And what you do. Do is you do the best that you can do, but you're if you're wise and good leaders. Know this. You also work with a team, and sometimes somebody else on the team can take the lead and enhance what you're doing, which is always a good thing.   Louise Baxter ** 1:00:15 Absolutely, you've got to have way smarter people all around you? Yeah,   Michael Hingson ** 1:00:22 I don't think there's anything wrong with having smarter people around you. Your your smarts is in bringing the team together.   Louise Baxter ** 1:00:29 Yes, that's right. So   Michael Hingson ** 1:00:33 what can you think other regions and countries learn from the challenges that you're facing?   Louise Baxter ** 1:00:40 I think we have, I think the world is so consistent in this day and age more than it's kind of ever been. You know, when you travel, you know, you seek out those places where we're different. Of course, we're different, but there's a lot more that's the same in this day and age than there ever has been and, and, you know, in some instances, I think that's quite sad, yeah, but there's much more consistency. So I think that there's, and there's always something that we can learn from each other, always. And that's what I look for. I'm excited by up learning things and you know, and and something that doesn't go according to plan is fabulous, because you learn so much more from that than something that just smoothly goes along and does everything you thought it would do.   Michael Hingson ** 1:01:35 Nothing wrong with learning from things that don't go well. I don't like the term failure and even mistakes, I'm not a great fan of but I think that what happens is that things don't always go as we plan. And the real question is, what do we learn from it? Absolutely which is, which is so cool? Well, Louise, this has been absolutely fun to be able to spend all this time with you. Now it's 10 in the morning where you are, so we should let you go do other things and get something done today. But I want to thank you for being here, and I want to thank all of you who are listening for being a part of our podcast today. I'd love to hear your thoughts about what Louise had to say, and I hope that you will communicate with her. And that's a good point. Louise, how can people reach out to you if they'd like to talk with you and maybe learn more from you, and what you have to say, I'm   Louise Baxter ** 1:02:27 on LinkedIn. So if, if those listening are on LinkedIn, you can find me. Louise Baxter, Starlight, Children's Foundation, Australia and or you can go to starlight.org.au, we if you're looking for us, our website, and you'll find me through that as well. Cool.   Michael Hingson ** 1:02:47 Well, I hope people will reach out. And if you'd like to reach out to me, and I hope you will, you may email me at Michael, H, I m, I C, H, A, E, L, H, I at accessibe, A, C, C, E, S, S, I, B, e.com, and you can also, of course, go to our podcast page, w, w, w, dot Michael hingson.com/podcast, and Michael hingson is spelled M, I, C, H, A, E, L, H, I N, G, s, o, n.com/podcast, you can listen to all of our podcasts there. You can reach out to me. There lots of things you can do on the web. It's an amazing thing to be able to do things on the web. I also would really appreciate it if when you are thinking about us, if you'll give us a five star rating wherever you're listening to us or watching us, we really appreciate your ratings and your comments. So please do that. If you know of anyone who you think might be a good guest, and Louise, you as well. If you can think of anybody else who we ought to have on unstoppable mindset, would definitely appreciate you introducing us. We're always looking to have more people to come on and tell their stories and talk about what they do. That's the best way to learn, is learning by listening to other people and them telling their stories. So hopefully you'll all do that and again, Louise, I want to thank you for being here.

Always a creative spirit, Lauren Jacobs found her passion and purpose in cookie decorating even appearing on The Food Network! Her motherhood journey is one full of pursuing adventure, overcoming challenges, and creating precious memories. More about Lauren:On InstagramOn FacebookFounder of The Cheerful Baker – teaching cookie decorating & business skills.Host of Sugar Coated Dreams Podcast – helping cookie decorators grow their businesses.Published Author – The Boy Who Lost His ColorsFood Network's Christmas Cookie Challenge Contestant (2022 Season).Creator of The Cheerful Box – a monthly cookie decorating subscription.Featured in - Entertain & Celebrate & Taste of the South Magazines.Instructor at Cookie Con, Cookie-A-Thon, and Bake from Scratch Magazine Baking Retreat.Expert in - cookie decorating, royal icing techniques, #challengebutter, and cookie cutter design.____Looking to save money on quality, bulk foods? Shop ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Azure Standard⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Watch on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Motherhood Experience⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ WebsiteFollow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Find us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook

Hendrick's a producer and mixer born in Venezuela, who made his way to Argentina, then to the U.S., and now Colombia. We talked about making records in a global way, the local effects of music scenes, discovering independent artists, and growing musical communities. I'm really excited about the music that Hendrick is cooking up, but I'm even more impressed by his mentality and work ethic behind it all. (And even less impressed by my Spanish at the end. I promise I'll keep practicing, ya'll.)For 30% off your first year of DistroKid to share your music with the world click ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠DistroKid.com/vip/lovemusicmore⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Connect with Hendrick on his:✏️ ⁠⁠Website⁠⁠ ⁠✏️ ⁠⁠IG⁠ Subscribe to this pod's blog on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Substack⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ to receive deeper dives on the regular

In this episode, we welcome a very special guest to discuss the ins and outs of her successful hair business. We then move on to discuss our varying views on life, marriage, and navigating relationships.

Oliver ist in Los Angeles, wo die eigene Realität oft nur ein Vorschlag ist. Vibes zwischen Ozempic-Palmen und Malibu-Sonne, ein warmer Mantel der das Herz umschließt bevor es schmilzt.Ob beim Frühstück mit Ralf Möller oder Abendessen mit Mariah Carey. Währenddessen Micky in Amsterdam - auf Grund nicht auffindbarem Rotlichtviertel mit offener Hose vor dem Anne Frank Haus stehend. Und in all ihrer Uneinigkeit sind sie sich bei einer Sache einig: Es sollten alle ein wenig mehr wie Pierre M. Krause sein.„Beisenherz und Polak – Friendly Fire“ ist ein Podcast aus den Wake Word Studios.Executive Producer: Christoph Falke & Ruben Schulze-FröhlichProjektleitung: Annabell RühlemannSounddesign & Produktion: Carl von Gaisberg***ANZEIGE***

Found something that got me to sit back on do some reflecting on this message.  It comes from Power of Positivity  (@LIVEpositivity)  “What if things work out even better than you imagined?”  It really comes down to at least trying to do something or more than one thing, and realizing that by simply trying, it could indeed work out just like you thought it would.  Maybe even it could end up being better than you thought.  WOW.. wouldn't that be great??  Powerful stuff to realize the possibility of learning something even if it doesn't work.  I'm better off at least trying. Thanks for listening.  Please take a few moments to subscribe & share this with someone, also leave a 5 Star rating on Apple Podcasts and ITunes or other services where you find this show.  Find me on Facebook:  https://www.facebook.com/coachtoexpectsuccess/   on Twitter / “X”:  @coachtosuccess   and on Instagram at:  @coachjohndaly  - My YouTube Channel is at: Coach John Daly.   Email me at: CoachJohnDalyPodcast@gmail.com     You can also head on over to https://www.coachtoexpectsuccess.com/ and get in touch with me there on my homepage along with checking out my Top Book list too.  Other things there on my site are being worked on too.  Please let me know that you are reaching out to me from my podcast.

During the week of March 4, 2025, six reports include observations of migrating starlings, otters on ice, and brightening bark. John Latimer provides feedback.

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

Send us a textWelcome back to another episode! This week, Max is going to tell us about a man who can't stop touching rocks, and Janey is going to tell us about the dangers of picking flowers (don't do it, ladies! It's not worth it!) Enjoy!Janey's Sources - What Came of Picking FlowersAndrew Lang's "Grey Fairy Book"Full free story  Max's Sources - The Touchstone"The World Treasury of Fairy Tales & Folklore: A Family Heirloom of Stories to Inspire & Entertain" by Rose Williamson, Joanna Gilar, and William Gray  Full free text of “The Touchstone” by Robert Louis Stevenson  Support the showCheck out our books (and support local bookstores!) on our Bookshop.org affiliate account!Starting your own podcast with your very cool best friend? Try hosting on Buzzsprout (and get a $20 Amazon gift card!)Want more??Visit our website!Join our Patreon!Shop the merch at TeePublic!If you liked these stories, let us know on our various socials!InstagramTiktokGoodreadsAnd email us at sortofthestory@gmail.com

Joe Devine, Jon Mackenzie, Reuben Pinder and JJ Bull are here to talk about the football. West Ham's progress under Graham Potter, have red cards derailed Arsenal's title challenge and Everton continue to have a lovely time under David Moyes. These were all discussed in the latest Tifo Football podcast.  Buy tickets for the Tifo Football Podcast Live here! - https://sohotheatre.com/events/tifo-football-podcast-live/  This episode of the Tifo football podcast is hosted by Joe Devine and produced by Steve Hankey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe Devine, Jon Mackenzie, Reuben Pinder and JJ Bull are here to talk about the football.West Ham's progress under Graham Potter, have red cards derailed Arsenal's title challenge and Everton continue to have a lovely time under David Moyes.These were all discussed in the latest Tifo Football podcast. Buy tickets for the Tifo Football Podcast Live here! - https://sohotheatre.com/events/tifo-football-podcast-live/ This episode of the Tifo football podcast is hosted by Joe Devine and produced by Steve Hankey. Hosted on Acast. See acast.com/privacy for more information.

Support the show: http://www.newcountry963.com/hawkeyeinthemorningSee omnystudio.com/listener for privacy information.

Oscar and Carl take a moment to smell the roses, take it all in, experience this little thing called life, and reflect on the year behind—and the year ahead. They chat about what might win the Oscar for Best Picture (your guess is as good as ours), the Razzies (our guess is gooder than yours), what they've been watching, and what they're excited for!Who would listen to this episode? You! Please!Find us through:Email: askwwwtpodcast@gmail.com YouTube: https://www.youtube.com/@whowouldwatchthis Instagram: https://www.instagram.com/whowouldwatchthis/ TikTok: @podcastwhowouldwatchthis More links: https://linktr.ee/whowouldwatchthis

The Chicago White Sox's pitchers and catchers report to camp tomorrow! General Manager, Chris Getz is already in Arizona. Getz told media members that Ky Bush will be undergoing Tommy John Surgery and will miss the 2025 season. Join CHGO White Sox host, Sean Anderson as he discusses the loss of Bush.

Colum and Stewart look forward to this weekend's Super Bowl and wonder if there are any lessons the Broncos can learn from two perennial contenders. They then discuss whether or not Denver should get involved in trading for either Myles Garrett or Cooper Kupp. Learn more about your ad choices. Visit megaphone.fm/adchoices

The concept of 'entertaining your cancer' might sound odd at first, but it truly showcases the strength of our thoughts and feelings concerning our health. Saranne made the choice to confront her cancer with positivity and a good dose of humor, which helped reduce stress and presented a unique coping mechanism for her illness. Although this approach might not resonate with everyone, it serves as a reminder that there isn't just one correct method to overcome cancer. Everyone's journey is different and unique. The #1 Rated Cancer Survivor Podcast by FeedSpot and Ranked the Top 5 Best Cancer Podcasts by CancerCare News, Beating Cancer Daily is listened to in more than 101 countries on six continents and has over 300 original daily episodes hosted by stage IV survivor Saranne Rothberg!   To learn more about Host Saranne Rothberg and The ComedyCures Foundation:https://www.comedycures.org/ To write to Saranne or a guest:https://www.comedycures.org/contact-8 To record a message to Saranne or a guest:https://www.speakpipe.com/BCD_Comments_Suggestions To sign up for the free Health Builder Series live on Zoom with Saranne and Jacqui, go to The ComedyCures Foundation's homepage:https://www.comedycures.org/ Please support the creation of more original episodes of Beating Cancer Daily and other free ComedyCures Foundation programs with a tax-deductible contribution:http://bit.ly/ComedyCuresDonate THANK YOU! Please tell a friend who we may help, and please support us with a beautiful review. Have a blessed day! Saranne 

L'événement Entertain-AI, prévu les 26 et 27 février à Montréal, réunira environ 600 professionnels des industries créatives, académiques et gouvernementales pour discuter de l'impact de l'IA sur la création. Alexandre Théodoresco, co-président de l'événement, insiste sur l'importance de ce dialogue pour anticiper les changements dans les métiers artistiques et réfléchir aux enjeux juridiques comme les droits d'auteur et la monétisation des œuvres assistées par l'IA.

Kathleen McNamee is joined by Karen Duggan and Scarlett Herron to look back on an epic football career for Julie-Ann Russell. They also rate the now closed January transfer window and look at a chaotic meeting between Arsenal and Manchester City.The COYGIG Pod on Off The Ball is in association with Cadbury, the official snack partner to the Republic of Ireland's Women's National Team.#CadburySupporterAndAHalf | @CadburyIrelandTo become a member and access our exclusive content simply click: here:http://offtheball.com/join

How can we make all guests feel truly welcome when hosting? By offering inclusive, thoughtful beverage options! In this episode, we chat with Kirstin Vracko, owner of Cheeky & Dry —Seattle's only non-alcoholic bottle shop. Kirstin shares her passion for creating a welcoming space and empowering hosts with easy, elevated non-alcoholic options. From ready-to-pour cocktails to beautifully crafted alcohol-free choices, she offers simple tips to ensure everyone has something special in their glass. Whether you're planning a gathering or just want to be a more thoughtful host, this conversation is full of inspiration!  Empowering the Hesitant Host to Entertain with Confidence and Ease Cheeky & Dry – Alcohol Free Kirstin Vracko - World Alcohol-Free Awards

#BERLIN: CDU entertain a coalition with AFD. Judy Dempsey, Senior Scholar, Carnegie Endowment for International Peace in Berlin. 1890 SAXONY

Hey y'all, it's Michelle Lynne here! Happy New Year, and welcome to the first episode of 2025 on Design for the Creative Mind! I'm kicking off this year with a theme that I think we all need: how to select and secure new clients. After a challenging 2024, where client inquiries slowed down and timelines stretched longer than usual, I've learned a lot about pivoting and simplifying sales and marketing processes. In this episode, I'm sharing the key lessons and strategies my team at ML Interiors Group implemented—and what's working as we head into 2025. Here's What You'll Learn in This Episode: Adjusting to Longer Sales Cycles We noticed that signing a client took 6–8 weeks instead of 3–4 weeks. I'll share how we adapted, including breaking projects into phases to meet clients where they are financially. The Power of Automation From automated email reminders to streamlining communication through SideMark (our software platform), we've enhanced professionalism, built excitement, and made appointment confirmations a breeze. Done is Better Than Perfect Discover how we refined our design presentations to save time while still delivering a stellar client experience—and increased our margins in the process. Why Social Media Still Matters Yes, social media can feel overwhelming and outdated. But it's a powerful gateway to building your email list (where the real magic happens). I'll explain how using the E.I.E.I.O. method (Educate, Inform, Entertain, Inspire, Opt-in) keeps your audience engaged and drives results. Owning Your Money Mindset Your clients' financial stories aren't the same as yours. Luxury clients value time-saving solutions—and your expertise is a significant part of that value. Key Takeaways: Focus on what you can control—your mindset, processes, and client communication. Social media doesn't need to be perfect. Be yourself, and your ideal clients will find you. Use freemiums or lead magnets (like guides or checklists) to build your email list. Pro tip: Offer something valuable that isn't easily found on Google or Pinterest. I'll be breaking down more sales and marketing strategies in future episodes, including tips for email marketing and SEO. Stay tuned for actionable advice and insights that will help you attract and secure clients more efficiently this year!     Head over to my website to download my free guide, 3 Things to Do Before Hiring an Interior Designer, and learn how to set your next project up for success. If you've been struggling with sales or marketing, let me know what questions you'd like me to answer in upcoming episodes—I'd love to help!   Thanks for tuning in today. Grab a pen, take notes, and let's make 2025 your best year yet!   Podcast Website and Resources: Get more info about our year-long mentorship and coaching program: https://www.designedforthecreativemind.com/business-bakery   Text BESTIE to 855-784-8299 for business tips, encouragement, and all our DFCM updates.   SIMPLIFY YOUR MARKETING, SIMPLIFY YOUR LIFE. Sidemark is an all-new, all-in-one software that organizes sales, marketing, and business services all in one convenient location. Join mysidemark.com to help grow your interior design business. Stay in touch with Michelle Instagram: https://www.instagram.com/designedforthecreativemind/  Join our Free Facebook Community: https://www.facebook.com/groups/idbizlaunchpad  Get clarity on your next best step today! https://www.designedforthecreativemind.com/reviewguide   Have ideas or suggestions or want to be considered as a guest on the show? Contact me! https://www.DesignedForTheCreativeMind.com/contact   A Podcast Launch Bestie production   Let me know if you'd like tweaks or have a specific focus in mind!

A clearer picture of how consumers are feeling in the new year is starting to emerge. One of the country's largest multi-concept restaurant groups has a new CEO. And McDonald's is going all-in on Pokemon.

This episode welcomes a friend to discuss leaving social media platforms, podcasting, being female with a bald head, and her experience in Magical Mentoring. Theadora's Bio : She's a storytelling enthusiast with a passion for liberation and empowerment. She has over a decade in Learning & Development, having trained leaders at top tech companies. She's a Podcaster, writer, and creator with a global audience. She'a the creator of the Mediocre Black Woman podcast and substack Key Points in this Episode: Leaving Meta: Explore the reasons behind Tandy and Thea's departure from Meta Platforms. Entertain why leaving these platforms might be a fit for you as well. Listen in on the personal, professional, wellness, and spiritual implications of this decision. The Significance of Baldness: Discuss the personal and societal perspectives on baldness, both for Thea and Tandy Explore the connection between physical appearance and self-identity. Lean in to the political, spiritual, and personal empowerment of the decision Hear Thea and Tandy's spiritual take on going bald Magical Mentoring: Thea shares some of her most pertinent experiences and takeaways from her session of Magical Mentoring with Tandy last Spring. Connect with Thea: Listen to The Mediocre Black Woman Podcast on Spotify. Subscribe to The Mediocre Black Woman on Substack. Check out the Goddesshood podcast on Spotify Explore Say What you Need to Say podcast on Spotify Resources: Group Magical Mentoring Begins March 7th, 2025. Exploration calls begin February 4th! This is mentoring via the tarot to heal core wounds. It's a fit if you're ready to dismantle internalized patriarchy to live a life by design, rather than a life by default, step into empowerment, manifestations, and confidence through shadow work, the witch narrative, and dark goddess energy. UnicornWellnessStudio.com Offering 30-min classical Pilates workouts in alignment to the astrological season and lunar cycles and Tandy's 41-day food reset. Subscribe to Tandy's weekly newsletter for more astrology insights and practical tips. Follow and DM on Instagram @tandy_gutierrez Email Tandy at tandy@unicornwellnessstudio.com Additional Resources: META ends its DEI programs via CNN How Mark Zuckerberg pivoted META to the right via NBC News META is ending its fact checking via NBC News. ***I'd also like to make a note that I had three other links to add to these notes specifically about META platforms that were from The New York Times, The Guardian, and ProPublica that were available prior to the inauguration that are no longer available. Scrubbed from the search engine. Additional episodes you might enjoy: EP 99: Aquarius Season Tarot Forecast EP 98: Aquarius Season Deep Dive and Energy Forecast EP 95: Nodes of Fate: Stepping into the Pisces Dream and Leaving Virgo Perfectionism Behind

Nick and Jonathan discuss the quarterback that Ryan Wilson of CBS Sports threw in the mix when he joined Ken Carman and Anthony Lima.

Nick and Jonathan discuss Sam Darnold and Kyler Murray's potential fit in Cleveland, and their urgency to find a solution at QB this offseason.

Jimmy and Gary entertain young Matt with music.

Laurence breaks down another disappointing loss for The Beloved. That's 5 in a row and they just keep getting weirder. Support this podcast at — https://redcircle.com/house-of-l-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy