Podcasts about gershwin

Auch mit seinen 79 Jahren gehört der österreichische Pianist Rudolf Buchbinder zu den Besten seines Fachs. Er selbst begründet das mit seiner idealen Technik. In dieser Sendung gibt der vielfach ausgezeichnete Künstler, der vor allem als Beethoven-Interpret Maßstäbe setzte, Einblicke, wie er sich fit hält, was Glück für ihn bedeutet und warum er Gershwin ebenso gerne musiziert wie die Musik der Wiener Klassik.

Ce week-end, on amène nos enfants au concert ! On leur fait découvrir la musique classique de façon ludique, en profitant de la première édition du mini-festival " Les petites grandes Athénéennes ", qui commence aujourdʹhui et se tient jusquʹau 11 juin. Ça se passe à lʹAlhambra et au Temple de la Madeleine, à Genève. Aujourdʹhui à 17 heures, les enfants pourront découvrir le compositeur Gershwin dans un spectacle musical orchestré par Sabine Quindou, lʹexploratrice de " Cʹest pas sorcier ", et le pianiste Simon Zaoui. Demain dimanche, à la même heure, cʹest ciné-concert, avec notamment les Silly Symphonies de Disney, Tom et Jerry et les Looney Tunes. Chaque spectacle est suivi dʹun goûter offert. Nous retrouvons Mélanie Chappuis sur place, en compagnie dʹAudrey Vigoureux, pianiste et cofondatrice du festival Les Athénéennes et du mini-festival " Les petites grandes Athénéennes ".

Summer fun is in effect this weekend, starting with the Happy Together Tour at the Florida Theatre, featuring favorite artists from the 60's. Also happening this weekend, the Jax Symphony has their season finale featuring Gershwin and Copeland. If you're in a sporting mood, the home teams are playing - arena football with the Sharks, baseball with the Jumbo Shrimp, and soccer with the Armada! Looking for something tastier? How about exploring the "Sweet Beginnings" history of chocolate in the US, and how it all started in St. Augustine?!

Send us a textGeorge Feltenstein from the Warner Archive joins host Tim Millard to discuss the remarkable restoration and reconstruction of the 1945 film "Rhapsody in Blue," now available on Blu-ray in its complete 161-minute version for the first time in 80 years.• Warner Bros.' restoration team combined original camera negative footage with a composite fine-grain master to reconstruct the complete film as director Irving Rapper intended• The rediscovered 5-minute Porgy and Bess sequence featuring Anne Brown's full performance of "Summertime" replaces the truncated 1:45 version shown in theaters• The Warner Brothers Studio Orchestra deserves special recognition for their outstanding musical performances and arrangements by Ray Heindorf• Many actual Gershwin associates appear in the film, including Paul Whiteman's orchestra, Oscar Levant, and Al Jolson performing "Swanee"• The film successfully portrays Gershwin's dedication to creating uniquely American music that incorporated jazz and diverse cultural influences• This frame-by-frame restoration delivers unprecedented audio and visual quality, surpassing even the original theatrical presentation• Robert Alda delivers a charismatic performance as George Gershwin, supported by excellent performances from Joan Leslie, Alexis Smith, and Charles CoburnPurchase Link: RHAPSODY IN BLUE (1945) [EXTENDED PRE-RELEASE VERSION] Blu-ray The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

Disney, Tom et Jerry, Gershwin, pour cette 14ème édition, le festival ouvre ses portes aux jeunes publics. Pour en parler, Pierre Philippe Cadert reçoit sa directrice Audrey Vigoureux et le chef dʹorchestre Dimitri Doudoplatoff qui sera à la tête de lʹorchestre de chambre de Genève dimanche 8 juin à lʹAlhambra à 17h00 pour un concert Walt Disney. Les Athénéennes du 4 au 14 juin Genève

Dvořák's radiant salute to the New World kicks off an American road trip with James Gaffigan at the wheel. Take in poignant selections from Gershwin's landmark opera — sung by Janai Brugger — and the composer's urbane and nostalgic love letter to Paris. Chicago native Florence Price sets two American poems to song, and a pair of symphonic showstoppers by Bernstein transports audiences to “New York, New York” and beyond. Learn more: cso.org/performances/24-25/cso-classical/an-american-suite

After a lengthy break, your favorite Bartel-casting comrades return with BARTEL ME SOMETHING GOOD, featuring the second episode of the Steven Spielberg-produced anthology series AMAZING STORIES directed by Paul Bartel, as well as the 1988 slasher comedy OUT OF THE DARK, produced by Bartel and featuring a wild cast including Karen Black, Bud Cort, Geoffrey Lewis, Tracey Walter, Divine, Tab Hunter and - of course - Paul Bartel! It's a packed episode, so check it out! The post Episode 275 – Bartel Me Something Good – Out of the Dark (1988) & Amazing Stories “Gershwin's Trunk” first appeared on Cinema Smorgasbord.

Pianist Jeffrey Biegel wanted to mark the 100th anniversary of George Gershwin's "Rhapsody in Blue." So, he commissioned a new work by composer Peter Boyer called "Rhapsody in Red, White and Blue." On this Piedmont Arts podcast, Biegel talks about the work, and we also talk with one of the leaders of the Charlotte Bach Festival about the multi-day event that gets underway May 30th.

Gershwin dallamai töltik meg a Várkert Bazárt – Különleges koncert Urbán Orsival, Révész Richárddal és a Budapest Jazz Orchestrával

Y antes de apagar la luz… Gracias.❤️ Gracias a todas las voces que dieron vida a esta historia escrita por Víctor Montolí. Gracias, Mariano Bascón, Antonio Reverte, Ignacio Rengel, Miguel Ángel Pulido, Laurie, Alberto Martínez, Juan Carlos Albarracín…🎙 Gracias por dar cuerpo, alma y matices a cada personaje. Por convertir cada línea escrita en algo vivo, vibrante… inolvidable. Gracias mi querido Víctor.💥❤🔪 Esta serie no sería lo mismo sin ustedes y sus maravillosos comentarios. Tracy no se llama Tracy...pero tú ya lo sabías.👠💋🔪📞 “Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠💋🔪 Una serie escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. ¿Creías que la historia había terminado? Qué ingenuo… Tracy no se despide, solo cambia de escenario. La segunda temporada de 'No me llamo Tracy' estará disponible para su lectura en el blog de Víctor Montoli. No se lo pierdan!! 😈🖥 https://www.pulpvictor.wordpress.com 🎙¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Until the World Ends - Arch Tremors 🎙 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU 📚 ¡Mi primer libro ya está disponible en Amazon! 📚 Lo puedes encontrar en formato bolsilibro tapa blanda, Ebook, y muy pronto también en tapa dura y un tamaño más grande.❣️ Crónicas Vampíricas de Vera 👉 https://amzn.eu/d/1Q4PWUY Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

En exclusiva para Radio 3, cuarta y última entrega de la vigésimo primera edición del Festival Tensamba. Con el concierto del pasado 2 de noviembre en Las Palmas de Gran Canaria, del autor de nuestra sintonía, Toninho Horta, guitarra y voz en 'Moonriver', 'Durango kid', 'Meu canário vizinho azul', 'O amor em paz', 'Gershwin', 'Francisca' y 'Pilar' y, a dúo con el guitarrista Jurandir da Silva, en 'Aqui oh!', 'Bycicle ride' o 'Aquelas coisas todas'.Escuchar audio

Urbán Orsi és Kollmann Gábor olyan alkotópáros, akik nem csupán a jazz nyelvén szólnak egymáshoz, hanem a közönséghez is. Együttműködésük valódi zenei szövetség, ahol a házasság és a színpad harmóniában rezonál. Beszélgetésünkben feltárul, hogyan születnek meg azok a produkciók, amelyekben Orsi karakteres, érzelmekkel teli hangja és Gábor hangszeres jelenléte egyaránt erőteljes hatást gyakorol. Gábor a Budapest Jazz Orchestra élén évek óta azon dolgozik, hogy a big band műfaját újra közel hozza a közönséghez. A Marczibányi tér klubestjei és a Várkert Bazár elegáns koncertjei egyaránt azt mutatják, hogy a nagyzenekari hangzás ma is képes ünneppé formálni az estéket. A május 31-i Gershwin-estre készülve egy kiforrott, közönségkedvenc műsor áll előttünk, amelyben a Kék rapszódia és a legismertebb Gershwin-dalok is elhangzanak. Orsi vokális érzékenysége és Gábor zenekarszervező látásmódja egymást kiegészítve hozzák létre a koncert egységét. Az adás személyes történeteket is megidéz. Kiderül, hogyan találtak egymásra egy női szaxofonkvartett révén, és miként váltak egymás első számú kritikusaivá, inspiráló társává. A közös zenélés náluk nem feladat, hanem létforma, amelyet tisztelet, önreflexió és folyamatos építkezés jellemez. Szó esik a koncerthelyszínek jelentőségéről, a big band hangzás erejéről, a tanítás és alkotás egyensúlyáról, a közönség valódi visszajelzéseinek súlyáról. Orsi és Gábor minden egyes fellépést lehetőségként élnek meg arra, hogy egy újabb pillanatra kapcsolódjanak azokkal, akik valóban figyelnek.A Sláger FM-en minden este 22 órakor a kultúráé a főszerep S. Miller András az egyik oldalon, a másikon pedig a térség kiemelkedő színházi kulturális, zenei szcena résztvevői Egy óra Budapest és Pest megye aktuális kult történeteivel. Sláger KULT – A természetes emberi hangok műsora.

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una serie escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🚀Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voz Invitada: Miguel Ángel Pulido de Terror y nada más. Muchísimas gracias mi príncipe azul. 💙 Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU 📚 ¡Mi primer libro ya está disponible en Amazon! 📚 Lo puedes encontrar en formato bolsilibro tapa blanda, Ebook, y muy pronto también en tapa dura y un tamaño más grande.❣️ Crónicas Vampíricas de Vera 👉 https://amzn.eu/d/1Q4PWUY Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Sheila Blanco y Federico Lechner presentan Los Mareados, un proyecto musical que reinterpreta tangos clásicos como “El día que quieras” o “Por una cabeza” a través una mirada contemporánea. Incluyen también temas originales entre los que destacan La Ladrona y Milonga para una pulga, (dedicada a Messi). Ambos artistas se conocieron en el grupo Patax, con Jorge Pérez al frente, aunque la salmantina y el porteño tenían trayectorias individuales destacadas. El guitarrista Chema Saiz narra sus caminos paralelos y su colaboración en el proyecto Gershwin. Actualmente, la cantante y el pianista han formado un cuarteto con José San Martín (batería) y Toño de Miguel (contrabajo) para deleite de sus fans. Entre ellos, la clarinetista y flautista Carmen Vela que no escatima en elogios hacia su admirada amiga Sheila. También recordamos la infancia musical de Lechner (su madre) con sus primeras improvisaciones al piano. El proyecto combina tradición, amistad y talento.Escuchar audio

Die erfolgreiche junge Trompeterin über ihre Liebe zu Klassik und Jazz, ihre Vorbilder und ihre französische Heimat. Lucienne spielt am 14. Februar 2026 in der Elbphilharmonie  Weitere Infos über den Elbphilharmonie Talk Bei der Trompeterin Lucienne Renaudin Vary kommen Töne, Linien, Melodien mit einer Schwerelosigkeit daher, als spiele sie Blockflöte. »Die Trompete ist ein wunderbares und ursprüngliches Instrument«, meint die junge Französin. Ihre Virtuosität spielt die stets barfüßig auftretende Musikerin mit ebenso beneidenswerter wie unnachahmlicher Gelassenheit aus. Und dann ist sie auch noch so eigensinnig, sich in ihrem Repertoire ganz und gar nicht zu beschränken. Klar, Barock und Klassik sind gesetzt für Trompeter:innen, aber auch der Jazz ist für Lucienne Renaudin Vary viel mehr als ein Flirt. Sie stellt ihn gleichberechtigt neben die Klassik, spielt liebend gern Musik von Gershwin, Sidney Bechet oder Astor Piazzolla. Sie improvisiert in der Tradition des Swing und unterhält sogar ein eigenes Quintett. Im »Elbphilharmonie Talk« preist sie die Schönheiten ihrer Heimatstadt Le Mans, einer kleinen Stadt 200 Kilometer südwestlich von Paris. Sie spricht über ihre Liebe zum Meer und zu Frankreich. Und Lucienne Renaudin Vary bekennt freimütig, dass sie die Schuhschachtel als Konzertsaal-Form besser findet als rundbespielte Konzerthäuser wie den Großen Saal der Elbphilharmonie, in dem sie indes schon bei mehr als einem Dutzend Konzerte mitgewirkt hat. Ihr Lieblingstrompeter? Weder Louis Armstrong noch Miles Davis. Ihr Herz und ihr Ohr gehören dem Westcoast-Beau Chet Baker, dem gefallenen Engel des Jazz.

This is the third and final segment of my conversation with Michael Owen, author of the recent book,  Ira Gershwin — A Life in Words. On this episode, Michael and I focus on the period of Ira Gershwin's career following the death of his brother George, during which he had success on Broadway and in Hollywood with composers such as Kurt Weill, Jerome Kern, Arthur Schwartz, and Harold Arlen, and shows and movies such as Lady In the Dark, The Barkleys Of Broadway, and A Star Is Born, If you missed the first two parts in this series, you may want to catch up with those before listening to this one. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members, such as Cheryl Hodges Seldon. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: ⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una serie escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voces invitadas: Mariano Bascón y Miguel Ángel Pulido de Terror y nada más. Muchísimas gracias a los dos por aceptar mi invitación❤️❤️🖤❤️❤️ 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU 📚 ¡Mi primer libro ya está disponible en Amazon! 📚 Lo puedes encontrar en formato bolsilibro tapa blanda, Ebook, y muy pronto también en tapa dura y un tamaño más grande.❣️ Crónicas Vampíricas de Vera 👉 https://amzn.eu/d/1Q4PWUY Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una seria escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! Voces invitadas: Ignacio Rengel (Actor) y Miguel Ángel Pulido de Terror y nada más. Muchísimas gracias a los dos por aceptar mi invitación. 😍 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

“'S Wonderful! 'S Marvelous!” – An American in Paris (1951)This week, we step into the dreamlike Technicolor world of An American in Paris with special guest Arlene Hellerman. A Publications Associate for Broadway Licensing Global, Arlene brings a multifaceted perspective shaped by a career spanning theatre, film, television, broadcast news, and print journalism.Together, we explore how Vincente Minnelli's 1951 musical turned Gershwin's music and Gene Kelly's choreography into a lavish cinematic spectacle—culminating in one of the most ambitious ballet sequences in film history.An American in Paris (1951) was directed by Vincente Minnelli and stars Gene Kelly and Leslie CaronSelected to the National Film Registry in 1993Known for:Its 17-minute ballet finale inspired by French impressionist artA seamless blend of Gershwin's music with vivid choreography and designWinning six Academy Awards, including Best PictureDiscussion topics include:The film's legacy in shaping the movie musicalIts stylized depiction of postwar ParisThe interplay between fine art and popular culture in Minnelli's visionFeaturing special guest:Arlene Hellerman, Publications Associate for Broadway Licensing Global, whose career spans theatre, film, TV, broadcast news, and print journalism Follow the Show:TwitterInstagramWebsite Music by Mike Natale

This episode of The Other Side of the Bell, featuring women's trumpet trailblazer, founder of the International Women's Brass Conference, and 40-year First Trumpet of the St. Louis Symphony Orchestra, Susan Slaughter, is brought to you by Bob Reeves Brass. This episode also appears as a video episode on our YouTube channel, you can find it here: "Susan Slaughter trumpet interview"   About Susan Slaughter:   Born in McCordsville, IN, Susan Slaughter started playing trumpet at the age of 10. Graduating from Indiana University with a coveted performer's certificate, Susan auditioned for and won the Principal Trumpet position in 1967 with the Toledo, Ohio Symphony.   Susan then joined the Saint Louis Symphony Orchestra in l969 and four years later became the first woman ever to be named Principal Trumpet of a major symphony orchestra.   In 1992, Susan founded the International Women's Brass Conference, an organization dedicated to provide opportunities and recognition for women brass musicians. As a fund-raising effort to support the International Women's Brass Conference, Ms. Slaughter organized and produced the very popular Holiday Brass Concerts, which are now in their second decade, and are performed each December in the Cathedral Basilica of Saint Louis. Other cities in the United States are holding their own Holiday Brass Concerts to help support the ever-growing International Women's Brass Conference.   In 1996, Ms. Slaughter founded Monarch Brass, an all women's brass ensemble, which has toured in the United States and Europe to critical acclaim.   Susan appears regularly in area recitals and religious programs, and has been a frequent soloist with the Saint Louis Symphony Orchestra, as well as with several other ensembles throughout the country. Her work is represented on a number of Saint Louis Symphony releases, including the highly acclaimed recordings of Mahler's Symphony No. 2, Prokofiev's Symphony No. 5, Gershwin's Piano Concerto in F, Mussorgsky's Pictures at an Exhibition, Barber's Capricorn Concerto, and most recently, John Adams' Doctor Atomic. Many of these and other recordings have been nominated for or won Grammy Awards. Susan has performed with Wynton Marsalis, Kathleen Battle, Christine Brewer, Doc Severinsen, Al Hirt in duets, amongst others.   She has served on the faculty of the Grand Teton Orchestra Seminar and the National Orchestra Institute, and has been lecture/recitalist at the International Trumpet Guild, while also serving on its board of directors.   Since the 1980's, Susan has performed the National Anthem and “God Bless America” on an annual basis for the St. Louis Cardinals Baseball Club and, at the invitation of the Baseball Commissioner Fay Vincent, performed the National Anthem at Game 3 of the 1991 World Series, played in Atlanta between the Braves and Twins (link).   Some of the awards and recognition Susan has received over the years include nomination by Ladies Home Journal for its annual Woman of the Year award, a special Leadership Award in the Arts from the Young Women's Christian Association, the American Federation of Musicians, Local 2-197 Owen Miller Award for loyalty, dedication and fairness in actions and deeds, and the 2007 Arts and Education Council Award for Excellence in the Arts.   Susan has studied over the years with Herbert Mueller, Bernard Adelstein, Arnold Jacobs, Robert Nagel, Claude Gordon and Laurie Frink, and retired as Principal Trumpet from the Saint Louis Symphony on September 1, 2010.   Podcast listeners! Enter code "podcast" at checkout for 15% off any of our Gard bags! Visit trumpetmouthpiece.com for more info.     Episode Links: Holiday Brass Los Angeles Brass Alliance website https://www.instagram.com/losangelesbrassalliance/  International Women's Brass Conference, May 19-24, Hartford, Connecticut. Register: myiwbc.org Sign up sheet for valve alignments: bobreeves.com/iwbc International Trumpet Guild Conference, May 27-31, University of Utah, Salt Lake City. Sign up sheet for valve alignments: bobreeves.com/itg William Adam Trumpet Festival, June 19-22, Clarksville, Tennessee. williamadamtrumpet.com  Sign up sheet for valve alignments: bobreeves.com/williamadam Greg Wing, Reflections on a Grateful Journey, available on Apple Music   Podcast Credits: “A Room with a View“ - composed and performed by Howie Shear Podcast Host - John Snell Cover Art - Susan Slaughter Audio Engineer - Ted Cragg

This is the second episode of my three-part conversation with author, historian, researcher, and archivist, Michael Owen, whose recent book,  Ira Gershwin — A Life in Words, is the first full-length biography devoted to that outstanding artist who penned the words for many of the greatest songs of the 20th Century. If you missed part one, you may want to catch up with that before listening to this one. Michael Owen is also the author of Go Slow — The Life of Jule London and the editor of The Gershwins Abroad. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members such as Alan Brodie. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: ⁠https://broadwaynationpodcast.supercast.tech/⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is Michael Owen, whose recent book Ira Gershwin—A Life in Words is the first full-length biography devoted to the other Gershwin. In this book, Owen at last brings Ira Gershwin out from behind the long shadow cast by his younger and more famous brother, George. Drawing on extensive archival research, Owen often uses Ira's own words to create a captivating portrait of a shy and retiring artist who, nevertheless, penned the words for many of the greatest songs of the twentieth century. Michael Owen is a historian, researcher, and archivist. He is the author of Go Slow — The Life of Jule London and the editor of The Gershwins Abroad. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members such as Geoffrey Block. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia…” 👠🚬💋🔪 Una seria escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙Voz invitada: Un agradecimiento especial a Alberto de Noviembre Nocturno. Gracias por aceptar mi invitación, sabes que te quiero 😘 ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una seria escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Send us a textWarner Archive's May releases feature two significant musical films: a restored pre-release version of "Rhapsody in Blue" with 13 additional minutes only shown to WWII soldiers, and the long-awaited 4K release of "High Society" featuring Bing Crosby, Frank Sinatra, and Grace Kelly.• "Rhapsody in Blue" restoration includes footage cut before 1945 theatrical release• Film features people who knew Gershwin playing themselves including Oscar Levant and Al Jolson• Restored Porgy and Bess sequence with original Broadway actress Anne Brown expanded from 90 seconds to 4-5 minutes• Includes 10+ minute overture created for original theatrical screenings• "High Society" arrives in 4K from VistaVision negative with Dolby Atmos and original mono audio options• Cole Porter wrote original songs for the film including "True Love," which became a platinum record for Grace Kelly• This was Grace Kelly's final Hollywood film before becoming Princess of Monaco• VistaVision horizontal format provides exceptional clarity without distortion• Warner Archive offers both 4K/Blu-ray combo pack and standalone Blu-ray options for consumersWe appreciate your support of Warner Archive Collection as we continue to preserve and restore classic films with the highest technical standards possible.Pre-order links are not yet available.If you missed it, listen to Part 1 of the May Release Announcement - episode 177 REVIEW - THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE with Tim Millard, host of The Extras Podcast.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una seria escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙Voz invitada: Un agradecimiento especial a Laurie, gran jugadora de Rol. Gracias por aceptar mi invitación. ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

With the album's reduced commercial clout and declining role in music consumption, a dilemma crops up for all long-established bands involved in the endeavour of making a new LP record. Put simply, why bother? Why toil for four years on a body of work that distils 100 song ideas into ten tracks, spending a fortune in the process, only to see it flash across the charts and then evaporate into the mesh of 100 million songs? It's an existential question for Ricky Ross of Deacon Blue, who told me:“It's sort of madness really, when all the good songs and books have already been written. Who wants to hear what's in my head or what we've created as a band? Does anyone even sit down and listen to an album now? But I think of it in the same way as poets, novelists and filmmakers. It's still worth doing if you feel you can do it well”. Arguably, new albums have been especially challenging for Deacon Blue in part because the band made one of the most accomplished debuts ever, 1987's Raintown. With its themes of growing up in Glasgow, work, money, expectations and dreams, Raintown is as universal a concept as any record and yet it is fundamentally a musical tribute to Glasgow that most Scots are really proud of. It set a high bar for Deacon Blue, and yet the band went on to have acute commercial success with the four albums that followed between 1989 and 1994, rounding the period off with a Greatest Hits compilation (remember them!) Our Town, in 1994. The band then split, and you can't say they didn't quit while they were ahead. They each went on to have their own multi-media career ventures, acting, writing and presenting, effectively avoiding the inevitable mid-career slump of many of their contemporaries. Alas, they came back together in 1999 and the second act has been a classic post limelight affair. A string of lower key albums placed them firmly in the ‘for fans only' vortex of music careers - perfectly sustainable and yet largely forgotten by the mainstream. It hasn't stopped the band hitting creative highs with albums though, notably 2014's A New House  and the outstanding City of Love in 2020. But when the journey continues, where do you go next? The answer seems to be ‘full circle, then forward'. New album The Great Western Road arrives on a momentous anniversary for Deacon Blue, it is 40 years since songwriter and frontman Ricky Ross and drummer Dougie Vipond created the group's first incarnation. With the opening title track set in Glasgow, it's more than a nod to their debut (indeed, the title track echoes Raintown's opener Born In A Storm, a ‘Gershwin meets Glasgow' classic). The band reunited with Raintown recording engineer Matt Butler and so were clearly ready to revisit their origins. But as the new album unfolds, so does the metaphor of the band stretching out further and further. The result is a bunch of songs that reflect the sense of expectation of their early work with reflection, perspective and a contented resignation. Classic country songs How We Remember It and Curve of the Line are particular highlights of a mature, grown up pop record. Support the showGet more related content at: https://www.songsommelier.com/

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una seria escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙Voz invitada: Un agradecimiento especial a Corman de Los Cuentos de la casa de la Bruja por aceptar mi invitación. ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Una producción de Olga Paraíso. Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 Tema musical momento baño Let's Misbehave (Cole Porter) BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU 📌Sigue la Playlist: No me llamo Tracy https://go.ivoox.com/bk/11211427 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Energy, joy, repose – co-hosts Sir Donald Runnicles and General Manager Jeff Counts connect chamber and orchestral works by three great composers, performed by Grand Teton Music Festival Orchestra musicians.This episode features:Michelle Cann with the Grand Teton Music Festival Orchestraand Chamber Music with Festival musiciansAaron CoplandAppalachian Spring: SuiteBenjamin Manis, conductorGTMF Chamber OrchestraAdam SchoenbergAhavaTomoki Iguchi, violinThomas Carpenter, celloAlice Kogan Weinreb, fluteJosé González Granero, clarinetYvonne Chen, pianoGeorge GershwinRhapsody in BlueMichelle Cann, pianoSir Donald Runnicles, conductorLive from the Grand Teton Music Festival is hosted by Music Director Sir Donald Runnicles and GTMF General Manager Jeff Counts. Episodes premiere on Wednesdays at 8 PM MT on Wyoming Public Radio and are available the next day wherever you get your podcasts.The Grand Teton Music Festival, founded in 1962, unites over 250 celebrated orchestral musicians led by Music Director Sir Donald Runnicles in Jackson Hole, Wyoming each summer. Stay connected for the latest Festival updates: Instagram Facebook Email List GTMF Website

'Abundância' es el título de un nuevo disco de la lisboeta de madre mozambiqueña María João, que contiene canciones como 'Ao sol', 'Maputo jive' o 'Beatriz -de Edu Lobo y Chico Buarque-. Otra lisboeta, en su caso de familia caboverdiana, Lura, celebra sus 25 años en la música con el disco 'Multicolor' ('Si si', 'Dançar', 'Preta', 'Bla bla bla'). El pianista François Couturier y el violinista Dominique Pifaréli firman un disco a dúo titulado 'Preludes and songs' que se abre con la viñeta 'Le surcroît' y para el que han grabado 'La chanson des vieux amants', de Brel, y 'I loves you Porgy' de Gershwin. Y otra francesa, Elise Vassalucci, canta 'The peacocks' de Jimmy Rowles con letra en francés de su autoría. Despide el cuarteto del baterista brasileño Sergio Reze 'O vento' (Dorival Caymmi)/'Vera Cruz' (Milton Nascimento).Escuchar audio

The set and costume designer Bob Crowley says he creates ‘other worlds'. The stage is where his imagination runs riot, at the National Theatre, the Royal Shakespeare Company the Royal Opera House, the West End, Broadway and beyond. He's won numerous Olivier and Tony awards for memorable designs such as the brightly lit revolving horses for Carousel, magical black and white tissue paper drawings evoking the foggy London skyline for Mary Poppins and couture dresses and the River Seine for An American in Paris. He's also worked on many new plays including The History Boys by Alan Bennett. His most recent credits include Richard the Second at the Bridge Theatre in London, with Jonathan Bailey in the title role. Bob's music selection includes Tallis, Gershwin, Schubert and Verdi.

We don't make it to the big city often, but when we do, we do it right! Squish on in as we share about our adventures in NYC complete with a “wouldn't He do it” moment. Also discussed are signs of an ultimate and trustworthy friend, our favorite Broadway shows, and what our 40 something memories hold onto from what we learned to recite from childhood.(TheVictory Couch is hosted by Rick and Julie Rando).Shownotes: Connect with us on Instagram @thevictorycouch, Facebook, victorycouchpodcast@gmail.com, or www.thevictorycouch.comWant a new Victory Couch sticker for your water bottle, laptop, guitar case, etc.? Send us a message and we'll mail you one.SUBSCRIBE to The Victory Couch e-mail list by visiting https://www.thevictorycouch.com/ and click SUBSCRIBE at the top of your screen. What are your favorite parts of our recent trip to NYC?American Girl https://www.americangirl.com/Wicked at The Gershwin https://wickedthemusical.com/Annie F. Downs https://www.anniefdowns.com/Mary Kate Morrisey https://www.instagram.com/maryspacekate/?hl=enBest Western https://www.bestwestern.com/Dylan's Candy Bar https://www.dylanscandybar.com/John Quinones https://abcnews.go.com/WhatWouldYouDoWhat do you think is a clear sign of an ultimate and trustworthy friend?Cynthia Erivo stunt work https://youtu.be/3mPq5ae03SAWhat's your favorite Broadway show you've ever seen (Broadway, BroadwayJr.)?What's something you learned as a child you can still recite today?Couch crumb: daylight savings time, motorcycle accident near the studioProp your feet up: NYC trip, watching Dylan as Flounder in The Little Mermaid, new cabinets for the officeIf you want to know about the Junior Theater Festival listen here:https://open.spotify.com/episode/3X7JNNMzTYDYJ0yF9d71ir?si=bd8f624828c64861

“Hay mujeres que dejan huella. Otras, cicatrices. Y luego está ella, Tracy… o como prefiera llamarse. Una sombra letal en una ciudad donde nadie juega limpio. Adéntrate en su historia… si te atreves.” 👠🚬💋🔪 Una seria escrita en exclusiva para este Podcast. ✒Víctor Montolí Bernadas (Barcelona, 1966) es filólogo, especialista en literatura, y profesor de lengua castellana. De intereses muy variados, ha escrito y publicado en libros, revistas y podcasts, ensayo, poesía y narrativa, en catalán y en castellano. Entre sus obras de crítica destacan la edición de la antología poética de Campoamor en la editorial Cátedra, un estudio introductorio sobre el poeta renacentista Gutierre de Cetina o libros de divulgación sobre la obra musical de los hermanos Gershwin o Cole Porter. Actualmente publica en su blog de creación literaria PULPVICTOR 🖥 https://www.pulpvictor.wordpress.com dos series de relatos breves paródicos de género policiaco y de terror, con sus personajes Horacio Cano y el jovencito Lovecraft. Puedes escuchar algunos de sus relatos de fantasía y terror en varios podcasts. Además nos ha prometido seguir cometiendo maldades y meterse de vez en cuando donde no le llaman. 🎙Voz invitada: Un agradecimiento especial a Antonio Reverte de Terror y Nada Más por aceptar mi invitación. ¡Únete a la nave de Historias para ser Leídas y conviértete en uno de nuestros taberneros galácticos. Al hacerlo, tendrás acceso a lecturas exclusivas y ayudarás a que estas historias sigan viajando por el cosmos.🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 ¡¡Muchas gracias por todos tus comentarios y por tu apoyo!! 📌Más contenido extra en nuestro canal informativo de Telegram: ¡¡Síguenos!! https://t.me/historiasparaserleidas Voz y sonido Olga Paraíso, Canción cierre final de Epidemic Sound con licencia premium para este podcast: Do You Really Wanna Be in Love - Elias Näslin 🎹 BIO Olga Paraíso: https://instabio.cc/Hleidas ☕️ Creado y producido por Olga Paraíso, "Un Beso en la Taza" es ese rincón cálido que te acompaña en tu día. Si disfrutas de las pausas significativas, las palabras que llegan al alma y el encanto de los pequeños momentos, este es tu lugar. PODCAST creados por OLGA PARAÍSO 🚀Historias para ser Leídas https://go.ivoox.com/sq/583108 ☕Un beso en la taza https://go.ivoox.com/sq/583108 y en Youtube: https://youtu.be/hQfUWte2bFU Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Today I present the male lead creator of Gershwin's towering masterpiece, Porgy and Bess, the magnificent Todd Duncan (12 February 1903 – 28 February 1998), whose other creations included work by Kurt Weill, Cole Porter, and a pop standard that might surprise you. Duncan also made extraordinarily important contributions as a teacher, a recitalist, and as a civil rights figure. All of these aspects of his life are explored in this episode, which features recordings from all corners of his artistic and musical life, including two live broadcasts of excerpts from Porgy and a number of rare recordings of art song and a treasurable (if craggily-recorded) album of spirituals. Here was a man who pursued his career and his life with a strong sense of his own self-worth, but also kindness, integrity, and humility. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

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

THIS WEEK's BIRDS: cante jondo (pop) from Love y Manuel as well as Naike Ponce and pianist Melodie Gimard w. El Chozas de Jerez (vocalist)  Abdel Karim Alkabli from Sudan; Maryam Saleh, Maurice Louca & Tamer Abu Ghazaleh; Jason Moran (piano) w. Milford Graves (percussion); Patricia Brennan Sextet; Nicole Mitchell w. Ballaké Sissoko; from Mali: Papa & Kandia Kouyaté; Hawa Dramé; Warda in duet w. Abade al Johar; Fado from Carlos do Carmo, Lucilia do Carmo, Amalia Rodrigues; Sally Gates w. Steve Hirsch & Daniel Carter; from Côte d'Ivoire: Pierre Sandwidi; Philly Joe Jones reprises Gershwin; vintage Congolese music from Kwamy et son Orchestre; Petranka Kostadinova, as well as Ilieva Glogovac Vaska (Roma song);  of course, so much, much more...   Catch the BIRDS live on Friday nights, 9:00pm-MIDNIGHT (EST), in Central New York on WRFI, 88.1 FM Ithaca/ 88.5 FM Odessa;. and WORLDWIDE online via our MUSIC PLAYER at WRFI.ORG. 24/7 via PODBEAN: https://conferenceofthebirds.podbean.com/ via iTUNES: https://podcasts.apple.com/us/podcast/conference-of-the-birds-podcast/id478688580 Also available at podomatic, Internet Archive, podtail, iheart Radio, and elsewhere. Always FREE of charge to listen to the radio program and free also to stream, download, and subscribe to the podcast online: PLAYLIST at SPINITRON: https://spinitron.com/WRFI/pl/20294697/Conference-of-the-Birds and via the Conference of the Birds page at www.WRFI.ORG https://www.wrfi.org/wrfiprograms/conferenceofthebirds/  Join us on Facebook: https://www.facebook.com/groups/conferenceofthebirds/?ref=bookmarks Find WRFI on Radio Garden: http://radio.garden/visit/ithaca-ny/aqh8OGBR

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show.   Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are.   You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow   A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   
The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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Today on Countermelody the first of two (for now) episodes celebrating the creators of George Gershwin's legendary (and controversial) opera Porgy and Bess. Today we explore the fascinating life (and scant recorded legacy) of Anne Wiggins Brown, who was born in Baltimore on August 09, 1912, and died in Oslo on March 13, 2009. Like Muriel Smith, who a few years later created the title role of Carmen Jones on Broadway, Brown was still a student at the time she created the role of Bess. In Brown's case, she was enrolled at the Juilliard School, one of the very first Black students admitted to the venerable institution. She was possessed of an admirable musical pedigree on her mother's side; her father was a doctor and the family was raised in relative privilege in Baltimore. This, however, did not mean that all doors were open to the young would-be singer, who found her way by sheer determination and willpower. These same traits led to her being cast in the female lead of Gershwin's Broadway opera, as well as a close working relationship with the composer, who expanded the role from a secondary part to having her name included in the title. Brown sang more than 500 performances of Bess around the world, but in 1948 chose to settle in Norway, where she married Thorleif Schjelderup, an Olympic skier who also became an author an environmentalist. Though she occasionally returned to the United States, Norway remained her home until her death at the age of 96. Brown's career included significant concertizing and operatic appearances throughout the world. Eventually severe asthma led to her sudden retirement from the stage in 1955. She often decried the ugly spectre of racism, which she felt also curtailed and restricted her career. After her retirement, she became a noted voice teacher and stage director, leading several noteworthy productions of Porgy in the 1960s. This episode includes the vast majority of her slim recorded output, which include various excerpts from Porgy (in effect the very first Original Cast Album), as well as a collection of rare Norwegian recordings of spirituals, folk songs, and art songs in which she reveals a strong, true voice and a deeply musical sensibility, showing herself to be yet another artist whose artistic significance matches her historical importance. The episode opens with a heartfelt (and heartbroken) tribute to the great Roberta Flack, who died in the morning hours of February 24th. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Magician, Swiss Watchmaker, Aloof, Elegant, Precise, Soulful, Childlike, Naive, Warm: these are all words that have been used to describe Maurice Ravel, a man of elegant contradictions. But perhaps these contradictions are why his music remains so beloved and universally appealing to so many musicians and audience members. Ravel has long been one of my favorite composers, and I always adore listening to his music and performing it. For the 150th anniversary of his birth, the legendary publishing house of G Henle has decided to focus on Ravel and his circle this year, calling this series Ravel and Friends. A few months ago, the Henle office contacted me to ask if I would be willing to collaborate with them on a series of Sticky Notes episodes about Ravel, each one focusing on the relationship between Ravel and another composer who was in his circle. This sounded like an amazing idea, and so I jumped at the chance to work with them. So, over the course of the next 5-6 months, you will be seeing 5 episodes under the Ravel and Friends theme. Today's episode will be a chance to do an overview on Ravel himself and to take a look at some major works that I haven't gotten around to covering on the show yet. We'll then finish the show with an interview with the great pianist Boris Giltburg, as we discuss the solo piano verison of Ravel's La Valse, one of the most challenging pieces in the entire repertoire. Later episodes will include a look at Ravel's relationships with Debussy, Gershwin, and De Falla, and much more! This is such an exciting chance to take a deeper look at one of the greatest 19th and 20th century composers, as well as take a look at the broader musical and social trends of that era, something I've always been deeply interested in. Join us!

El pianista François Couturier y el violinista Dominique Pifarély tocan 'I loves you, Porgy' de los Gershwin y 'La chanson des vieux amants' de Brel en su reciente disco a dúo 'Preludes and songs'. Además, Bianca Gismonti ('Sanfona', 'A fala da paixão'), Luiz Murá ('Undiú', 'Bahia com H'), Mafalda Minozzi ('Café South American style', 'Eu e a brisa', 'Agua de beber') y Chet Baker ('Skylark').Escuchar audio

Connor and Dylan are joined by Tony & Grammy Award nominee Max von Essen (Chicago, An American in Paris). The boys are BACK, baby and boy, oh, boy, you're in for a great chat. Max joins the twins before an evening performance of Chicago. He dishes on what it's like singing and acting DOWN as Billy Flynn, how things are going at the Ambassador Theatre in the shows 28th year, and what it's like to star alongside reality TV stars Ariana Madix and Erika Jayne. Max's resume is just full of incredible credits and we get into some highlights: little piano man Max on Long Island obsessing over Gershwin and the arts, tiny jean shorts Max on the road with Xanadu, and meant-to-be moment Max as he starred on Broadway in An American in Paris. We honor the late Gavin Creel's friendship and impact, including stories about inspiring activism and spreading enthusiasm. Max also tells his coming out story and what it means to be in this community here in New York City. Oh, and that Carnegie Hall solo concert? You're going to tear up. S'wonderful, isn't it?Follow Max on InstagramFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramSubscribe to our show on iHeartRadio Broadway!Support the podcast by subscribing to DRAMA+, which also includes bonus episodes, Instagram Close Friends content, and more!

Hi friends, and welcome back to Busy Kids Love Music! This week, we conclude our three-part series on the brilliant composer George Gershwin with a look at his opera masterpiece, Porgy and Bess. What You'll Hear in This Episode: Background on Porgy and Bess: Learn how Gershwin, his brother Ira, and DuBose Heyward collaborated to create this groundbreaking "folk opera" that premiered in 1935. The Story: Explore the opera's plot, centered on the struggles and resilience of a close-knit African American community in Catfish Row, Charleston. Unforgettable Music: Enjoy excerpts from iconic pieces like: “Summertime” “I Got Plenty o' Nuttin'” “Bess, You Is My Woman Now” Cultural Impact: Discover how Gershwin's decision to cast African American performers in the leading roles broke barriers while also sparking debate. Modern Reflections: Understand how productions today balance honoring Gershwin's work with addressing cultural sensitivities. Additional Resources:

Froggy and his friends build an incredible castle in the backyard. But somehow, Gershwin the Sneak gets inside! Will they be able to create a siege tower in time to take back the castle they built? Listen and find out!

Welcome to Busy Kids Love Music! In today's episode, we continue our series on the remarkable George Gershwin, focusing on one of his most famous works, Rhapsody in Blue. Discover the story behind this iconic piece, learn what makes it unique, and hear why it's considered a groundbreaking moment in American music history. What You'll Learn in This Episode: The Inspiration: Learn how a train ride and a tight deadline led to the creation of Rhapsody in Blue. The Title: Explore the meaning behind the title and how the piece captures the spirit of America. The Music: Dive into Gershwin's innovative blend of jazz and classical styles, featuring instruments like the clarinet, saxophone, and piano. The Premiere: Hear how the piece's 1924 debut wowed audiences and redefined jazz as a serious art form. Why It's Famous: Discover why Rhapsody in Blue is still celebrated as one of the greatest American compositions.

Today I present to you the extraordinarily versatile, even chameleon-like singer and actor Marni Nixon (22 February 1930 – 24 July 2016), who is no doubt best-known today as the so-called “Ghostess with the Mostest.” Born into a musical family in California, she became involved from an early age with the movies, and by a marvelous set of circumstances became The Voice for a number of Hollywood actresses not known for their singing voices. Her skill in matching the vocal and speech characteristics of each of these performers is exceptional, but she was so much more than that. She pioneered the work of many 20th century giants, including Igor Stravinsky, Arnold Schoenberg, Charles Ives, and Anton Webern. She hosted a local Seattle children's television program called Boomerang that netted her four Emmy Awards. She performed on opera stages and concert platforms around the world. She recorded widely, everything from Mary Poppins to Pierrot Lunaire, and in the mid-1970s was the first singer to perform and record Schoenberg's cabaret songs, his so-called Brettl-Lieder, works that are now standard repertoire. Reminiscences of Marni are provided by my good friend Thomas Bagwell, currently a coach and conductor at The Royal Danish Opera in Copenhagen, who was a colleague and good friend of Marni Nixon's for the last 25 years of her life. This episode features a cross-section of this stunning artist's extensive recorded output, recorded over six decades, including repertoire from Webern to Rodgers and Hammerstein. In between we have examples of Nixon's performances of songs by Schoenberg, Stravinsky, Debussy, Ives, Fauré and her former husband Ernest Gold; concert and song repertoire by Villa-Lobos, Boulez, Castelnuovo-Tedesco, Copland, and Gershwin; plus a few outliers, from a live performance of Korngold's Mariettas Lied to the jazzed-up exotica of Buddy Collette's Polynesia to Mr. Magoo's Mother Goose Suite, not to mention a spoonful of Mary Poppins. Overall, “It's a Jolly ‘Oliday with Marni!” Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.  

Welcome back to Busy Kids Love Music! In today's episode, we kick off a brand-new series all about one of America's most beloved composers, George Gershwin. From his humble beginnings in Brooklyn to his rise as a composer who seamlessly blended jazz and classical styles, Gershwin's life and music continue to captivate audiences of all ages.

About the Show:"We're a traditional symphony orchestra, usually around between 60 and 70 musicians on stage playing classic repertoire like your Mozart, Beethoven, Brahms, that type of thing, as well as a lot of music by composers that have been sort of historically overlooked." Ben HarrisAbout the Guest(s):Cory Mixdorf is the Principal Trombonist for the Symphony of Northwest Arkansas (SoNA) and a Professor of Music at the University of Arkansas. With 12 years in the region, Cory has made significant contributions to the local music scene, nurturing the next generation of musicians and performing a wide range of classical and contemporary works.Ben Harris is the Executive Director of the Symphony of Northwest Arkansas. His background as a musician and extensive experience in the performing arts enables him to lead SoNA with a focus on community engagement, education, and cultural enrichment.Episode Summary:In this engaging episode of the I am Northwest Arkansas® podcast, host Randy Wilburn brings back key figures from the Symphony of Northwest Arkansas—Cory Mixdorf and Ben Harris—to explore the vibrancy and value of the local music scene. The discussion centers around SoNA's impactful educational programs, significant upcoming performances, and the broader cultural influence the symphony holds within the region.The Symphony of Northwest Arkansas, under the leadership of Ben Harris and the musical expertise of Cory Mixdorf, is a cornerstone of cultural enrichment in the Ozarks. They delve into the symphony's history, its educational outreach through programs like SoNA Mentors, and its vital role in fostering talent within Northwest Arkansas. The episode highlights SoNA's diverse repertoire, including classic and contemporary pieces, and emphasizes its community impact. Ben discusses the orchestra's plans, challenges, and the search for a new music director, all contributing to NWA's exciting and evolving musical future.Key Takeaways:Community Integration: SoNA plays a crucial role in the cultural and educational landscape of Northwest Arkansas, offering significant outreach programs such as SoNA Mentors.Diverse Repertoire: The symphony's performances range from classic to modern compositions, providing something for every musical taste.Educational Impact: By engaging with young musicians and offering them stage opportunities, SoNA fosters the next generation of musicians and listeners.Dynamic Leadership: As SoNA searches for a new music director, the involvement and feedback of its audience are more valued than ever, showing the organization's commitment to its community.Local Talent and Heritage: SoNA's programs often highlight composers with Arkansas roots, showcasing the region's rich cultural history.All this and more on this episode of the I am Northwest Arkansas podcast.Important Links and Mentions on the Show*Email Ben WhiteEmail Cory MixdorfWebsite Symphony of Northwest Arkansas

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It's From the Top's 25th birthday! We meet a 13-year-old violinist who is equally accomplished in classical repertoire and fiddling. A 16-year-old pianist from New York performs a brilliant Beethoven Sonata and talks about her incredible experience in publishing. Finally, we reconnect with From the Top alum Yuna Langehennig and learn about her journey to becoming an Airman First Class in the United States Air Force Heritage of America Band. She brings along her ensemble Heritage Winds and they perform a rousing work by Paquito D'Rivera.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy