Podcasts about Harwell

Harwell School launches the #HarwellStars social media campaign to spotlight joyful moments and achievements of young learners. Through social media posts from teachers and parents, the initiative builds community pride, encourages engagement, and showcases the nurturing, high-quality early education offered at Harwell. The Harwell Schools City: Beaverton Address: 14845 SW Murray Scholls Dr. Website: https://www.harwellschool.com

Harvard proves play turbocharges young brains. Harwell School cranks it up, fusing STEM with art in bold, joyful bursts—from peekaboo to brainteasers—sculpting sharp, imaginative kids poised to conquer tomorrow. The Harwell Schools City: Beaverton Address: 14845 SW Murray Scholls Dr. Website: https://www.harwellschool.com

Pastor Michael's message from Sunday, March 23, 2025.

Pastor Michael's message from Sunday, March 16, 2025.

Pastor Michael's message from Sunday, March 9, 2025.

Pastor Michael's message from Sunday, March 2, 2025.

How do you discover what truly motivates people in their careers? In this episode I sat down with Thomas Harwell, Head of Talent Engagement and Diversity Recruiting at Google for Europe, Middle East and Africa. We discuss how understanding personal motivations and creating meaningful career paths can lead to flourishing workplaces.In this episode we explore:⭐️ Understanding that careers make sense looking backwards, and encouraging regular reflection on career goals; ⭐️ Promoting transparent conversations between employers and candidates about expectations and workplace culture ;⭐️ Supporting all talent by recognising that opportunity isn't always equally distributed;Thomas shares insightful strategies, such as treating job-searching like dating or house-hunting, using the interview process as a two-way street, and helping managers become effective career coaches. He also explains the importance of being intentional about career choices and how organisations can support employees in exploring different paths. Listen now for practical advice on understanding workplace motivations and creating meaningful career journeys.About Thomas HarwellThomas is an experienced talent leader with a passion for fostering inclusive workplaces and empowering individuals in their career journeys. Currently serving as EMEA's Head of Talent Engagement & Diversity Recruiting at Google London, Thomas has a track record of developing and implementing impactful programmes that support career development and advancement.Prior to Google,Thomas held roles at Boston University and Boston College, where he provided career coaching and resources, with a focus on individualized career strategies. Thomas' expertise lies in talent management, recruitment, and programme development.Thomas´ commitment to career development extends beyond the workplace. As a board member of Spiral Skills, he provides strategic direction to an organization dedicated to supporting youth in South London in pursuing their job related skill development.Connect with Thomas: https://www.linkedin.com/in/thomasharwell/Links:Visit Helen's website www.helenbeedham.com.Check out Helen's award-winning business book: The Future of Time: how 're-working' time can help you boost productivity, diversity and wellbeing.Leave a book review on Amazon here.Get in touch about Helen's Time-Intelligent Teams workshops or view/download a flier here.Join her mailing list here.What does freedom at work mean to you? Take my short survey here.Pre-order my new book People Glue: hold on to your best people by setting them free  (out Jan 2026) and become a book supporter to gain exclusive book-related invitations and offers. 

The United Kingdom's robust and ambitious space sector has many personalities. Each year at the Better Satellite World Awards Dinner in December in London, the SSPI UK Chapter recognizes one of them as the Satellite Personality of the Year. In this podcast, we hear from the 2024 honoree, Dr. David Parker FRAeS, Non-Executive Board Member of the UK Space Agency and Visiting Professor at the University of Southampton. This interview was originally broadcast as part of the Personalities of the Space & Satellite Industry podcast series, which aired before Dr. Parker was named the 2024 Satellite Personality of the Year. Dr. David Parker has led a distinguished thirty-five-year career in the space sector, spanning industry, UK government and the European Space Agency (ESA). Until June 2023, he served as ESA's Director of Space Exploration at ESTEC in the Netherlands, overseeing astronaut missions to the International Space Station, Europe's involvement in Artemis and pioneering projects like training an astronaut with a physical disability. Previously, he was the Chief Executive of the UK Space Agency (2013-2016), where he led Tim Peake's ISS mission and negotiated ESA's first UK center in Harwell. Starting in the UK space industry in 1990, he contributed to projects like XMM-Newton and ExoMars. Dr. Parker holds a degree in Aeronautics and Astronautics and a PhD from NASA Langley Research Center. He has received several accolades, including the Royal Aeronautical Society's Geoffrey Pardoe award. He currently works part-time at ESA, serves on the UK Space Agency Board and is a Visiting Professor at the University of Southampton.

This case study highlights how Harwell School's comprehensive approach to early childhood education nurtures children's growth across social, emotional, and intellectual areas, providing them with the foundational skills required for success in school and beyond. The Harwell Schools City: Beaverton Address: 14845 SW Murray Scholls Dr. Website: https://www.harwellschool.com

December 19th Show Notes December 19, 1934 – The New York Yankees send five players to the San Francisco Seals of the Pacific Coast League as partial compensation for the acquisition of Joe DiMaggio. The Yankees had previously paid $25,000 for the future Hall of Famer. DiMaggio will play one more season in the PCL before reporting to the Yankees in 1936. In ‘36, DiMaggio will hit .323 with 125 RBIs in helping the Yankees to a World Series title.December 19, 1976 — A single-engine Piper Cherokee plane crashes into the upper deck of Baltimore's Memorial Stadium, home of the Orioles, injuring the pilot and three others. Minutes prior to the mishap, the plane had buzzed the stadium during the final moments of the Steelers' playoff victory over the Colts. The pilot of the Piper Cherokee was 33-year-old Donald Kroner. Kroner served three months of a two-year sentence for malicious destruction of property and violation of aviation ordinances.Kroner had been arrested prior to the Stadium incident for making threats against former Colt Bill Pellington. This included Kroner being accused of dropping a bottle and toilet paper from his plane onto the roof of Pellington's Timonium restaurant. According to news reports, Kroner was upset over being thrown out of the restaurant. Kroner died in 2013.Kroner had been fired as an MTA bus driver the day before the crash. He also had been a flight instructor and, according to some accounts, had worked as an air traffic controller. In 1980, Kroner was charged with stealing a Greyhound bus from Dulles International Airport. December 19, 1990 — At a press conference, Tiger management and WJR announce 1991 will be Ernie Harwell's 32nd and final season in the broadcast booth. The dismissal of the Motor City's popular play-by-play announcer starts a furor among fans, which includes a threatened boycott of Domino's Pizza, a business of club owner Tom Monaghan, and the rise of the slogan, “Say It Ain't So, Bo”, which appears on bumper stickers and T-shirts all over Detroit, referring to Bo Schembechler, the team president and former University of Michigan football coach."[Harwell's situation is] not going to change no matter how much clamor is made over it," said team president Bo Schembechler. The situation caused outrage so much that some made threats of violence against Schembechler. Some, such as Mitch Albom, blamed the situation causing as much negative feeling as it did on WJR executive Jim Long who was the one who pushed the quick, no severance pay removal of Harwell.[6] The movement in favor of keeping Harwell was so strong that even billboards in favor of his remaining were put up.[7] Rick Rizzs was hired away from the Seattle...

This podcast features baseball sportscaster great, Ernie Harwell.  Our PhD Committee first reviews Major League Baseball's playoff expansion idea of adding an additional wild card team in each league and then shifts into analyzing who is listening to our podcasts.  Then it's time for Harwell.  Hear Harwell's moving 1955 poem – The Definition of Baseball, then hear Harwell's account of baseball's Shot Heard ‘Round the […]

December 19th Show Notes December 19, 1934 – The New York Yankees send five players to the San Francisco Seals of the Pacific Coast League as partial compensation for the acquisition of Joe DiMaggio. The Yankees had previously paid $25,000 for the future Hall of Famer. DiMaggio will play one more season in the PCL before reporting to the Yankees in 1936. In ‘36, DiMaggio will hit .323 with 125 RBIs in helping the Yankees to a World Series title.December 19, 1976 — A single-engine Piper Cherokee plane crashes into the upper deck of Baltimore's Memorial Stadium, home of the Orioles, injuring the pilot and three others. Minutes prior to the mishap, the plane had buzzed the stadium during the final moments of the Steelers' playoff victory over the Colts. The pilot of the Piper Cherokee was 33-year-old Donald Kroner. Kroner served three months of a two-year sentence for malicious destruction of property and violation of aviation ordinances.Kroner had been arrested prior to the Stadium incident for making threats against former Colt Bill Pellington. This included Kroner being accused of dropping a bottle and toilet paper from his plane onto the roof of Pellington's Timonium restaurant. According to news reports, Kroner was upset over being thrown out of the restaurant. Kroner died in 2013.Kroner had been fired as an MTA bus driver the day before the crash. He also had been a flight instructor and, according to some accounts, had worked as an air traffic controller. In 1980, Kroner was charged with stealing a Greyhound bus from Dulles International Airport. December 19, 1990 — At a press conference, Tiger management and WJR announce 1991 will be Ernie Harwell's 32nd and final season in the broadcast booth. The dismissal of the Motor City's popular play-by-play announcer starts a furor among fans, which includes a threatened boycott of Domino's Pizza, a business of club owner Tom Monaghan, and the rise of the slogan, “Say It Ain't So, Bo”, which appears on bumper stickers and T-shirts all over Detroit, referring to Bo Schembechler, the team president and former University of Michigan football coach."[Harwell's situation is] not going to change no matter how much clamor is made over it," said team president Bo Schembechler. The situation caused outrage so much that some made threats of violence against Schembechler. Some, such as Mitch Albom, blamed the situation causing as much negative feeling as it did on WJR executive Jim Long who was the one who pushed the quick, no severance pay removal of Harwell.[6] The movement in favor of keeping Harwell was so strong that even billboards in favor of his remaining were put up.[7] Rick Rizzs was hired away from the Seattle...

Ep 137, Surface vs. Substance: Managing Workplace Disputes Wisely

The United Kingdom's robust and ambitious space sector has many personalities. In this podcast series, we introduce you to three whom the UK Chapter of SSPI is considering for its prestigious Personality of the Year Award in 2024. One of these three finalists will be named the 2024 Satellite Personality of the Year live at the Better Satellite World Awards Dinner in London on 2 December. Click here to join us there! Each of the three finalists is a star who has made significant contribution to the UK and global satellite industry and whose career is a study of performance and excellence at the highest level. In the first episode, we learn a bit more about Dr. David Parker FRAeS, Non-Executive Board Member of the UK Space Agency and Visiting Professor at the University of Southampton. Dr. David Parker has led a distinguished thirty-five-year career in the space sector, spanning industry, UK government and the European Space Agency (ESA). Until June 2023, he served as ESA's Director of Space Exploration at ESTEC in the Netherlands, overseeing astronaut missions to the International Space Station, Europe's involvement in Artemis and pioneering projects like training an astronaut with a physical disability. Previously, he was the Chief Executive of the UK Space Agency (2013-2016), where he led Tim Peake's ISS mission and negotiated ESA's first UK center in Harwell. Starting in the UK space industry in 1990, he contributed to projects like XMM-Newton and ExoMars. Dr. Parker holds a degree in Aeronautics and Astronautics and a PhD from NASA Langley Research Center. He has received several accolades, including the Royal Aeronautical Society's Geoffrey Pardoe award. He currently works part-time at ESA, serves on the UK Space Agency Board and is a Visiting Professor at the University of Southampton.

Alex Harwell shares an impactful message telling her experience as a student in the York University community after the tragedy of losing her father. Romans 8:18

Fortunes in the textile industry have been built by the strange, and now deceased Mr Harwell. Johnny is soon on the scene in the huge mansion, to oversee the reading…

Fortunes in the textile industry have been built by the strange, and now deceased Mr Harwell. Johnny is soon on the scene in the huge mansion, to oversee the reading…

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. 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.   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 fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

We're celebrating 100 years of God's blessings on KFUO Radio with a special series featuring guests from KFUO's long history! In Episode 13, Joanie Harwell (former director of development for KFUO) joins Andy and Sarah to talk about how KFUO was a part of her childhood and family culture, how she ended up joining the KFUO Radio staff, her path to eventually becoming director of development, her favorite memories of working for KFUO Radio, how KFUO changed the trajectory of her life, and her favorite memories of the people she met and worked with over the years. Learn more about KFUO's 100th Anniversary Celebration at kfuo.org/100.

- Ernie Harwell- Bob HarrisIn this 2006 radio interview, listeners are treated to a segment with Ernie Harwell, one of the most beloved voices in baseball history. Harwell, who spent over four decades as the play-by-play announcer for the Detroit Tigers, was known for his smooth, Southern cadence and his ability to capture the essence of the game with his words. By 2006, Harwell had retired from regular broadcasting but remained a cherished figure in the sport, often reflecting on his illustrious career that began in the 1940s. This interview is part of a series that highlights Harwell's signature calls, offering fans a chance to relive some of the most memorable moments in baseball history through his distinct narration.Harwell's career spanned some of the most significant eras in baseball, and his voice became synonymous with the summer pastime for generations of fans. In this segment, his reflections on the art of the play-by-play call and the moments he cherished the most provide an intimate look into the mind of a broadcasting legend. For those who grew up listening to Harwell, this interview serves as a nostalgic journey, while for newer fans, it offers an introduction to the timeless impact of one of the game's greatest announcers.#ErnieHarwell #DetroitTigers #BaseballBroadcasting #RadioInterview #2000sBaseball

Enjoy!

In this episode of Best Practices with Kenny Berger, Kenny is joined by seasoned mediator Marc Harwell to dive into mastering mediation from the mediator's perspective. With over 35 years of experience in civil defense and a dedicated focus on mediation since 2014, Marc shares insights into what it takes to achieve successful outcomes in complex cases, including:Effective communication well in advance with your adversary, mediator, and clientMaintaining credibility and being a voice of reason throughout negotiations Listening and arming the mediator with information/narrativesFocusing on issue resolution rather than just number exchangesThis episode is packed with practical advice on how to prepare, start, and work through negotiations, as well as techniques for breaking impasses and sealing the deal. Tune in to learn how to elevate your mediation practice and gain fresh perspectives on achieving successful resolutions.

- Ernie Harwell- Bob HarrisIn 2006, Ernie Harwell was 88 years old and had been retired from regular broadcasting for four years, having called his last game for the Detroit Tigers in 2002. Harwell's career as a broadcaster spanned over six decades, beginning in 1940 with the Atlanta Crackers and culminating in his long tenure with the Tigers from 1960 to 2002. By 2006, Harwell was widely regarded as one of the greatest baseball broadcasters of all time, having been inducted into the Baseball Hall of Fame in 1981.This radio interview, part of a series on Great Moments in Baseball, likely features Harwell recounting memorable events from his extensive career behind the microphone. Given his vast experience, Harwell would have been able to provide firsthand accounts of numerous significant moments in baseball history, from the integration of the sport to the evolution of the game through the latter half of the 20th century. His distinctive voice and storytelling ability, honed over decades of broadcasting, would make this a valuable piece of oral baseball history.#ErnieHarwell #BaseballBroadcasting #DetroitTigers #BaseballHistory #HallOfFameBroadcaster

- Ernie Harwell- Bob HarrisIn this 2006 audio clip, the legendary baseball broadcaster Ernie Harwell delves into the Detroit Tigers' history during the 1980s and 1990s, a period that saw a mix of triumphs and challenges for the team. Harwell, whose career with the Tigers spanned parts of five decades, offers unique insights into the team's dynamics, key games, and standout players from those years. His tenure included the Tigers' 1984 World Series championship, a high point in the team's history. By 2006, Harwell had been retired from full-time broadcasting for several years, but his voice and memories remained deeply connected to the team and its fans. This interview not only reflects on past glories and struggles but also serves as a bridge between generations of Tigers supporters, encapsulating the changes the team and its fanbase underwent during two transformative decades.The significance of Harwell's perspective cannot be overstated, as he was not just a witness to but also a part of the Tigers' history. In discussing the 1980s and 1990s, Harwell likely touches on the impact of managerial changes, the development and departure of key players, and the evolution of the team's strategy and performance. His reflections provide listeners with a nuanced understanding of the highs and lows experienced by the Tigers, set against the broader backdrop of Major League Baseball during those years. This clip is a valuable piece for anyone interested in the intricacies of baseball history, as told by one of the game's most beloved figures.#ErnieHarwell #DetroitTigers #1980sBaseball #1990sBaseball #SportsHistory

Get ready for one of our most entertaining podcasts of the year. Aaron Harwell from SpiderDoor joins Tommy and Melissa to talk about self storage security. Aaron has experience both as a self storage owner and the owner of a self storage security company and talks about what has (and hasn't) worked for his facilities and what led him to the many unique solutions SpiderDoor provides. From lasers, to attack dogs, to gates, and just about everything in between, we hit on all the security you should look into for your facilities. Plus, Aaron reveals his top 2 must have security features every facility needs to be using today. Hosts: Tommy Nguyen & Melissa Huff Guest: Aaron Harwell with SpiderDoor Brought to you by the teams at StoragePug and Lighthouse Storage Solutions

- Ernie Harwell- Bob HarrisIn this 2006 audio clip, Ernie Harwell, one of baseball's most beloved and enduring voices, reminisces about his early days as the voice of the Detroit Tigers. By this time, Harwell had already solidified his place in baseball history, having spent over 50 years calling games, with the bulk of his career dedicated to the Tigers. His distinctive voice and warm, folksy style had made him a beloved figure not just in Detroit but across the nation. This interview offers listeners a rare and personal glimpse into the early years of his career, providing insights into his initial experiences, challenges, and memorable moments in Detroit. The context of this conversation is particularly poignant, reflecting on a storied career as Harwell had retired from full-time broadcasting by this point.The clip serves as a valuable piece of sports history, capturing the reflections of a man who was more than just a broadcaster; he was a chronicler of the game and a companion to the fans. Harwell's stories and recollections from the early days in Detroit offer a window into a bygone era of baseball and broadcasting, highlighting his role in the evolution of sports media. His contributions went beyond mere play-by-play; he became an integral part of the community and the game, leaving an indelible mark on the hearts of baseball fans everywhere. This interview is a must-listen for anyone interested in the history of sports broadcasting, the Detroit Tigers, or the legacy of one of baseball's most iconic figures.#ErnieHarwell #DetroitTigers #SportsBroadcasting #2006Baseball #BaseballHistory

- Ernie Harwell- Bob HarrisIn this 2006 audio segment, Ernie Harwell, the legendary voice of baseball, shares his experiences from his early broadcasting career with the New York Giants and the Baltimore Orioles, prior to his iconic tenure with the Detroit Tigers. Known for his warm, eloquent delivery and deep connection with baseball fans, Harwell's recounting of his time with these two teams offers a rare insight into the formative years of his illustrious career. The clip provides a glimpse into Major League Baseball during the mid-20th century, through the eyes of one of its most eloquent narrators. At this point, Harwell had been retired, yet his narratives and memories continued to resonate with a sense of timelessness and passion for the game.Reflecting on the period before he became synonymous with Detroit baseball, Harwell discusses the distinct atmospheres, key players, and memorable games associated with the Giants and Orioles. His tenure with these teams laid the foundation for a broadcasting career that would endear him to millions of fans and leave an indelible mark on the sport. This segment is not just a trip down memory lane but a masterclass in the history and evolution of baseball broadcasting. It showcases the early stages of a career that would profoundly influence how the sport was experienced by fans around the world.#ErnieHarwell #BaseballHistory #NewYorkGiants #BaltimoreOrioles #SportsBroadcasting

BEST OF TST: Over the last seven days singers Jimmy Buffett and Steve Harwell passed away, a music festival called Electric Zoo spiraled into chaos after reaching capacity, and the Burning Man festival was inundated with rain and mud. Buffet died September 1st and Harwell on the 4th; Electric Zoo and Burning Man deteriorated over Saturday the 2nd and Sunday the 3rd. Last Tuesday was also the anniversary of Princess Diana's death - August 31, 1997. What makes this all peculiar and perhaps more than just the algorithmic cycle of parallel news stories is that Princess Diana's death on the 31st, all those years ago, took place on a day considered by many to be an inverted, or Satanic, version of what is normally celebrated on August 13th. On the Ides of August the ancient Romans celebrated the FESTIVAL OF TORCHES or Nemoralia in honor of Diana. It usually took place on a LAKE. But on August 31 Diana becomes Hecate in the underworld when her light is extinguished and her waters dry up. The inversion of the torches themselves also do not extinguish them, as they go on to illuminate the infernal. How interesting is it then that Burning Man, which culminates with the burning of an effigy of the ‘man', takes place on a dried up ancient lakebed between August 27 and September 4, when attendees leave. This means that Burning Man is essentially a seven day festival and that August 31 falls dead in the center of the event. The festival location itself is called Black Rock City, in northwestern Nevada, a name which has incredible occult significance, but particularly in relation to Hecate because her ‘color' and stone are black obsidian - black rock. This year the dried up lakebed was refilled with flood waters that prevented 70,000 people from leaving. The flooding began on Saturday, the day of Saturn or Hecate. But this still didn't stop festival goers from burning the man under the moon on Monday, or moon-day, night, the day of Diana. All of this may therefore sound far more than just a fun ritual of music, camping, and some fireworks. Instead, it sounds like the death of major celebrities at the start and finish of a weekend of disaster and chaos, which just so happens to have very strong connections to ancient festivals of fire, lakes, the underworld, black rocks, and sacrifice. Even more disturbing is the reported and then scrubbed supposed case of ebola at Burning Man this year, a condition in which the person has black vomit. With the excessive trash left behind by festival participants, the famous use of drugs and sexual debauchery, and the like, Burning Man is nothing more than a ritual honoring of the sacred black stone and the witch-goddess Hecate. Travis Scott also announced this weekend, on September 1, his first world tour since the Astroworld disaster. The tour is called Utopia and aims to open up a New World.-FREE ARCHIVE & RSS: https://www.spreaker.com/show/the-secret-teachingsTwitter: https://twitter.com/TST___RadioFacebook: https://www.facebook.com/thesecretteachingsWEBSITE (BOOKS, RESUBSCRIBE for early show access): http://thesecretteachings.infoPaypal: rdgable@yahoo.comCashApp: $rdgableBuy Me a Coffee: https://www.buymeacoffee.com/tstradioSUBSCRIBE TO NETWORK: http://aftermath.mediaEMAIL: rdgable@yahoo.com / TSTRadio@protonmail.com

- Ernie Harwell- Bob HarrisIn this 2006 interview, legendary broadcaster Ernie Harwell reflects on his early career, notably his time with the Brooklyn Dodgers. Before becoming synonymous with the Detroit Tigers, Harwell's distinctive voice and keen insights graced Dodgers broadcasts, providing fans with vivid descriptions and memorable moments from the games. This segment offers a unique look into Harwell's contributions to baseball history and the narrative of one of the sport's most storied franchises during its Brooklyn era.#ErnieHarwell #BrooklynDodgers #SportsBroadcasting #BaseballHistory #RadioInterview

Isiah Harwell visited Mark Few and the Gonzaga Bulldogs at The Kennel on Saturday in the Zags win over Santa Clara, and he said being in Spokane felt like home. The 2025 No. 7 ranked player would be an incredible fit with the Zags thanks to his size and play-making ability, and it sounds like the recruitment is going very well.We also discuss Nolan Hickman's incredible performance this season, and his blistering hot shooting this past month and how important it is to see him thriving, as opposed to falling apart, as the calendar nears March.Finally, we close out the show discussing Chet Holmgren setting an NBA record, Domantas Sabonis approaching the top 10 all-time in triple-doubles, and Jalen Suggs' background as a quarterback in high school.Support Us By Supporting Our Sponsors!LinkedInThese days every new potential hire can feel like a high stakes wager for your small business. That's why LinkedIn Jobs helps find the right people for your team, faster and for free. Post your job for free at LinkedIn.com/lockedoncollege. Terms and conditions apply.GametimeDownload the Gametime app, create an account, and use code LOCKEDON for $20 off your first purchase.FanDuelNew customers, join today and you'll getONE HUNDRED AND FIFTY DOLLARS in BONUS BETS if your first bet of FIVE DOLLARS or more wins. Visit FanDuel.com/LOCKEDON to get started.eBay MotorsWith all the parts you need at the prices you want, it's easy to turn your car into the MVP and bring home that win. Keep your ride-or-die alive at EbayMotors.com. Eligible items only. Exclusions apply. eBay Guaranteed Fit only available to US customers.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN)

In this episode, host Ashley Noz pays homage to two Black trailblazers and their unique contributions to the field of mental health for Black History Month . The first is Dr. Solomon Carter Fuller, the first Black psychiatrist in the United States, who made significant contributions to the study of Alzheimer's disease. The second pioneer is Bibi Moore Campbell, an author, spokeperson for the National Alliance on Mental Illness (NAMI), and mental health advocate who used her storytelling talent to explore mental illness in her novels. Ashley shares how each of these pioneers left a lasting impact on the field of mental health and how their legacies live on. --Follow BGHA2 to stay up to date!Instagram: @blackgirlshaveanxietytoo Twitter: @anxiousblkgirlsTiktok: @blackgirlshaveanxietytoo Threads: @‌blackgirlshaveanxietytoo Email: blackgirlshaveanxietytoo@gmail.com --------References: BEBE: https://www.thehistorymakers.org/biography/bebe-moore-campbell-41#:~:text=Campbell%20passed%20away%20on%20November%2027%2C%202006%20at%20age%2056.http://www.lpsconservatorship.com/book.htmlhttps://keystone-law.com/types-of-probate-conservatorship#:~:text=A%20probate%20conservatorship%20can%20be,office%20of%20the%20Public%20Guardian.https://scholarshare.temple.edu/bitstream/handle/20.500.12613/1401/Harwell_temple_0225E_10737.pdf?sequence=1 Solomon: https://alz-journals.onlinelibrary.wiley.com/doi/full/10.1002/alz.12183 https://www.alzint.org/about/dementia-facts-figures/types-of-dementia/alzheimers-disease/alois-alzheimer/https://newsnetwork.mayoclinic.org/n7-mcnn/7bcc9724adf7b803/uploads/2022/02/ALZHEIMER_S_DISEASE__SENIUM_PR_COX___THE_REPORT_OF.2-1.pdfhttps://newsnetwork.mayoclinic.org/n7-mcnn/7bcc9724adf7b803/uploads/2022/02/ALZHEIMER_S_DISEASE__SENIUM_PR_COX___THE_REPORT_OF.2-1.pdf --- Send in a voice message: https://podcasters.spotify.com/pod/show/black-girls-have-anxiety-too/message Support this podcast: https://podcasters.spotify.com/pod/show/black-girls-have-anxiety-too/support

Mark Few, RJay Barsh, and the Gonzaga Bulldogs coaching staff are heavily pursuing multiple extremely talented high school stars in the 2025 recruiting class, in particular going after 6'5+ guards to give them added size on the perimeter. Isiah Harwell is the top target, and he has re-scheduled his official visit to Spokane after suffering an ACL injury.The Zags are also pursuing a top-ranked wing from Ontario, a 6'11 center from New Zealand, and a guard from Israel in the 2024 class - more proof they are still a major player in the international recruiting market.Gonzaga also has their eye on a local kid, Davis Fogle, a 6'5 guard from Anacortes who has shown interest in Gonzaga and is getting Power-6 interest from Nebraska, Indiana, Clemson, and others while rocketing up the rankings. Speaking of rocketing up the rankings, Nik Khamenia is now a consensus top 50 prospect and is still projected to land in Spokane, while Las Vegas center Xavion Staton is now ranked 22nd in the class of 2025 thanks to his incredible length and athleticism.Discord Server: https://discord.gg/CcSNerjWPmLink to national college basketball national podcast: https://linktr.ee/LockedOncbbhttps://linktr.ee/LockedOnZagsLocked on Zags - Part of the Locked on Podcast Network.Support Us By Supporting Our Sponsors!Athletic BrewingGo to AthleticBrewing.com and enter code LOCKEDON to get 15% off your first online order or find a store near you! Athletic Brewing. Milford, CT and San Diego, CA. Near Beer.GametimeDownload the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase.LinkedInLinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply.eBay MotorsFor parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply.FanDuelMake Every Moment More. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS – GUARANTEED. Visit FanDuel.com/LOCKEDON to get started.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN)Follow & Subscribe on all Podcast platforms…

Mark Few, RJay Barsh, and the Gonzaga Bulldogs coaching staff are heavily pursuing multiple extremely talented high school stars in the 2025 recruiting class, in particular going after 6'5+ guards to give them added size on the perimeter. Isiah Harwell is the top target, and he has re-scheduled his official visit to Spokane after suffering an ACL injury. The Zags are also pursuing a top-ranked wing from Ontario, a 6'11 center from New Zealand, and a guard from Israel in the 2024 class - more proof they are still a major player in the international recruiting market. Gonzaga also has their eye on a local kid, Davis Fogle, a 6'5 guard from Anacortes who has shown interest in Gonzaga and is getting Power-6 interest from Nebraska, Indiana, Clemson, and others while rocketing up the rankings. Speaking of rocketing up the rankings, Nik Khamenia is now a consensus top 50 prospect and is still projected to land in Spokane, while Las Vegas center Xavion Staton is now ranked 22nd in the class of 2025 thanks to his incredible length and athleticism. Discord Server: https://discord.gg/CcSNerjWPm Link to national college basketball national podcast: https://linktr.ee/LockedOncbb https://linktr.ee/LockedOnZags Locked on Zags - Part of the Locked on Podcast Network. Support Us By Supporting Our Sponsors! Athletic Brewing Go to AthleticBrewing.com and enter code LOCKEDON to get 15% off your first online order or find a store near you! Athletic Brewing. Milford, CT and San Diego, CA. Near Beer. Gametime Download the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase. LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply. eBay Motors For parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply. FanDuel Make Every Moment More. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS – GUARANTEED. Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Follow & Subscribe on all Podcast platforms…

  *5:00am:    Fired From Job *6:00am:   1989 Year Fact, 2 Truths 1 Lie: Bun Burner *7:00am:   Vegas Thrill Tryout Updates, Movie That Changed Your Life *8:00am:   Coach Fran Flory Tryout Verdict, Having Kids At An Older Age, Out Of Body Experience *9:00am:    Steph At Burger King, January Teacher of the Month: Mr. Harwell of Pinecrest Sloan Canyon

Congratulations to Mr. Harwell from Pinecrest Sloan Canyon for being named Mercedes in the Morning's January Teacher of the Month! Mr. Harwell will receive a $150 Visa gift card courtesy of Findlay Chevrolet an additional $150 Visa gift card courtesy of Silver State Schools Credit Union PLUS a personalized Mercedes in the Morning Teacher of the Month plaque from H&J Trophies!

Mark Few and the Gonzaga Bulldogs don't have any commits in the 2024 recruiting class, but they are involved with a handful of top ranked prospects in 2025 including Isiah Harwell and Nik Khamenia, who moved up to No. 5 and No. 41, respectively, in the class rankings at On3. We discuss the pair as well as Gonzaga's three other recruiting targets and why this program is willing to go all-in on 2025. We then discuss the Zags moving up one spot to No. 23 in the AP Poll and how they can maintain their spot in the top 25, despite not having a Quad 1 opportunity until early February. We then close out the show discussing Lisa Fortier and the Gonzaga women's team, who are up to No. 16 after starting conference play 1-0 with a win over the Portland Pilots on Saturday. Discord Server: https://discord.gg/CcSNerjWPm Link to national college basketball national podcast: https://linktr.ee/LockedOncbb https://linktr.ee/LockedOnZags Locked on Zags - Part of the Locked on Podcast Network. Support Us By Supporting Our Sponsors! Birddogs Go to birddogs.com/lockedoncollege or enter promo code LOCKEDONCOLLEGE for a free water bottle with any purchase. You won't want to take your birddogs off we promise you. Nutrafol Take the first step to visibly thicker, healthier hair. For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com/men and enter the promo code LOCKEDONCOLLEGE.  Athletic Brewing Go to AthleticBrewing.com and enter code LOCKEDON to get 15% off your first online order or find a store near you! Athletic Brewing. Milford, CT and San Diego, CA. Near Beer. Betterhelp This podcast is sponsored by BetterHelp.If you're thinking of starting therapy, give BetterHelp a try. Visit BetterHelp.com/lockedoncollege today to get 10% off your first month. Gametime Download the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase. LinkedIn LinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply. eBay Motors For parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply. FanDuel Make Every Moment More. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS – GUARANTEED. Visit FanDuel.com/LOCKEDON to get started. FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN) Follow & Subscribe on all Podcast platforms…

Mark Few and the Gonzaga Bulldogs don't have any commits in the 2024 recruiting class, but they are involved with a handful of top ranked prospects in 2025 including Isiah Harwell and Nik Khamenia, who moved up to No. 5 and No. 41, respectively, in the class rankings at On3. We discuss the pair as well as Gonzaga's three other recruiting targets and why this program is willing to go all-in on 2025.We then discuss the Zags moving up one spot to No. 23 in the AP Poll and how they can maintain their spot in the top 25, despite not having a Quad 1 opportunity until early February.We then close out the show discussing Lisa Fortier and the Gonzaga women's team, who are up to No. 16 after starting conference play 1-0 with a win over the Portland Pilots on Saturday.Discord Server: https://discord.gg/CcSNerjWPmLink to national college basketball national podcast: https://linktr.ee/LockedOncbbhttps://linktr.ee/LockedOnZagsLocked on Zags - Part of the Locked on Podcast Network.Support Us By Supporting Our Sponsors!BirddogsGo to birddogs.com/lockedoncollege or enter promo code LOCKEDONCOLLEGE for a free water bottle with any purchase. You won't want to take your birddogs off we promise you.NutrafolTake the first step to visibly thicker, healthier hair. For a limited time, Nutrafol is offering our listeners ten dollars off your first month's subscription and free shipping when you go to Nutrafol.com/men and enter the promo code LOCKEDONCOLLEGE. Athletic BrewingGo to AthleticBrewing.com and enter code LOCKEDON to get 15% off your first online order or find a store near you! Athletic Brewing. Milford, CT and San Diego, CA. Near Beer.BetterhelpThis podcast is sponsored by BetterHelp.If you're thinking of starting therapy, give BetterHelp a try. Visit BetterHelp.com/lockedoncollege today to get 10% off your first month.GametimeDownload the Gametime app, create an account, and use code LOCKEDONCOLLEGE for $20 off your first purchase.LinkedInLinkedIn Jobs helps you find the qualified candidates you want to talk to, faster. Post your job for free at LinkedIn.com/LOCKEDONCOLLEGE. Terms and conditions apply.eBay MotorsFor parts that fit, head to eBay Motors and look for the green check. Stay in the game with eBay Guaranteed Fit. eBay Motors dot com. Let's ride. eBay Guaranteed Fit only available to US customers. Eligible items only. Exclusions apply.FanDuelMake Every Moment More. Right now, NEW customers can bet FIVE DOLLARS and get TWO HUNDRED in BONUS BETS – GUARANTEED. Visit FanDuel.com/LOCKEDON to get started.FANDUEL DISCLAIMER: 21+ in select states. First online real money wager only. Bonus issued as nonwithdrawable free bets that expires in 14 days. Restrictions apply. See terms at sportsbook.fanduel.com. Gambling Problem? Call 1-800-GAMBLER or visit FanDuel.com/RG (CO, IA, MD, MI, NJ, PA, IL, VA, WV), 1-800-NEXT-STEP or text NEXTSTEP to 53342 (AZ), 1-888-789-7777 or visit ccpg.org/chat (CT), 1-800-9-WITH-IT (IN), 1-800-522-4700 (WY, KS) or visit ksgamblinghelp.com (KS), 1-877-770-STOP (LA), 1-877-8-HOPENY or text HOPENY (467369) (NY), TN REDLINE 1-800-889-9789 (TN)Follow & Subscribe on all Podcast platforms…

On this week's episode, I have influencer/creator expert Taylor Lorenz. Tune in as we talk about her book, “Extremely Online: The Untold Story Of Fame, Influence, And Power On The Internet” as well as her experiences working as a journalist for “The Washington Post” and “The New York Times”. We also dive into some tidbits she has about social media.Show NotesTaylor Lorenz on Instagram: https://www.instagram.com/taylorlorenz/?hl=enTaylor Lorenz on TikTok: https://www.tiktok.com/@taylorlorenz?lang=enTaylor Lorenz on YouTube: https://www.youtube.com/channel/UCp38w5n099xkvoqciOaeFagMichael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptTaylor Lorenz:These old school entertainment people come on and they don't really understand the app and they clearly are not doing it themselves. They have some content assistant and then they're like, Hey kids, I guess I have to be here now. And it's like, what are you doing here? I will say the musicians do a better job. Megan Trainor has Chris Olsson, but TikTok buddy that, and music is such a part of TikTok, I feel like they get a warmer reception.Michael Jamin:You're listening to, what the Hell is Michael Jamin talking about? I'll tell you what I'm talking about. I'm talking about creativity, I'm talking about writing, and I'm talking about reinventing yourself through the arts.Hey everyone, what the hell? It's Michael Jamin talking about today. I'm going to tell you what I'm talking about. So for those of you who have been listening for a long time, I'm always telling you, just put your work out there. Get on social media, start making a name for yourself, because whether you want to be an actor or a writer or director, you got to bring more to the table than just your desire to get a big paycheck and become rich and famous. If you can bring a market, if you can bring your audience you're going to bring, that brings a lot to the table. And so my next guest is an expert on this, and she's the author of Extremely Online, the Untold Story of Fame, influence and Power on the Internet. I'm holding up her book. If you're watching this podcast, if you're driving in the car, you can imagine that there's a book and has a cover. So please welcome, pull over your car and give a round of applause to Taylor Lorenz. Thank you Taylor for coming and joining me for talking about this. It's an honor meeting you finally.Taylor Lorenz:Yeah, likewise. Excited to be here.Michael Jamin:So you wrote this great book, which I read, and there's so much, I guess there's so much. You actually document the history starting from the beginning of mommy bloggers and all these people who kind of were at the forefront and then built a name for themselves on social media. And so I'm just hoping to talk to you about how we can take some of this information and apply it to the people who listen to my podcast and follow me on social media so that they can help do the same. So I guess starting from the beginning, what was interesting that you pointed out is that women were kind of at the forefront at this whole thing. You want to talk about that a little bit?Taylor Lorenz:Yeah, definitely. I mean, I talk about this in the book, but in the turn of the millennium, the early aughts, this blogging was taking off and there were tons of blogs, and I talk about some of the big political and tech blogs at the time, but it wasn't really until the mommy bloggers entered onto the internet in the early aughts who were these moms, these stay at home moms that really had nothing else to do. A lot of them were shut out of the labor market, and they turned to blogging and ended up really building their own kind of feminist media empires by building audiences. And they were the first to really cultivate strong personal brands online and then leverage those personal brands to monetize.Michael Jamin:And you're right about, I remember this may have been 10 years ago or maybe longer, one of my friends, our screenwriter, she developed a TV show on these mommy bloggers. And I'm like, wait a minute. And there was a couple of people who did that. Max Nik, who was a guest on my podcast a while, a couple weeks ago, same thing. He wrote a show based on shit my dad says, but it's on a Twitter feed and there's all these people. It's so interesting. I was a little late to the game in terms of Hollywood exploiting all these markets, these people who are making names for themselves. Lemme back up for a second though. Why did you decide to even write this book?Taylor Lorenz:Yeah, so I started covering this. I started as a blogger myself a little bit later.Michael Jamin:What were you blogging?Taylor Lorenz:I was blogging about my life, a lot, about my life and a lot of about online culture stuff. I thought that the mainstream media was really bad at covering the internet, and so I thought, I'm going to write about the internet. This was when I was young millennial, right out of college.Michael Jamin:You were writing about your personal life?Taylor Lorenz:Yes.Michael Jamin:Okay. So that's a whole different thing. You're opening yourself up to everything. And was there any, I know I'm jumping around here, I guess I have so many questions, but I don't know, was there backlash from that? Were there repercussions? Because we're talking about people do this. What's the backlash?Taylor Lorenz:Well, this was like 2009, so it was such a different internet, and I'm so grateful, honestly, that I was blogging in that era and not this era because I think I didn't get a lot of backlash. I had a great community. I met some of my best friends, were other bloggers from that era. I became very popular on Tumblr for my single serving like meme, like blogs. So yeah, I think when you're young, you're just kind of trying a lot of different things out. I didn't know what I wanted to do out of college. I'd never studied journalism. I didn't know I was working at a call center and just became popular on the internet and then was like, I guess I'm pretty good at thisMichael Jamin:Stuff. Really? I didn't know that about it. You have a pretty big following on TikTok and Instagram as well, which is so weird because you're writing about something that you are also participating in. I mean, it's almost meta how you are, what you're talking about. No,Taylor Lorenz:Yeah. I mean, I started, had I been able to monetize my blog nowadays, content creators on TikTok, they can monetize in 2009, 2010, couldn't, the best that you could hope for was one of those book deals that Urban Outfitters. Right?Michael Jamin:ButTaylor Lorenz:You couldn't really leverage it into much. I ended up just leveraging it into a career in media, which has been fun. ButMichael Jamin:See, this is what's interesting to me because right now you see so many people on social media, how do I monetize this? Meaning ads or even sponsorships, but there's other ways to monetize outside of brand deals or views on YouTube getting used. So yeah, there's a whole, I don't know. Do you think that's a large percentage of people on the internet? It seems like to me most are doing it to monetize for the brand deals. What's your take on it?Taylor Lorenz:Yeah, I think now that you can monetize in that way, a lot of people, that's their end goal. I'm kind of glad. I mean, it's a double-edged sword. Who knows what I could have done if I was able to monetize, but I'm really glad actually that you couldn't, because I think myself and a lot of other bloggers, we ended up going in a lot of different ways and entering into a lot of media type of jobs that, yeah, I mean would've never gotten otherwise. And I've learned how to be a journalist and I've gotten all these opportunities and my whole career from just experimenting and having fun online. So yeah, I think I always tell people, it's great if you can monetize, get the bag. If somebody comes to you offering you thousands of dollars, why not? But I think it's really good to take that virality and leverage it into, I like what Kayla Scanlan does, or Kyla, she's the economics YouTuber, and she gives all these talks about econ now, and she has a newsletter, and she's able to just do a lot more. It's not just doing a bunch of brand deals online. It's like using it to launch a career and whatever you want to have a career in.Michael Jamin:Yeah, see, I see. That's the funny, I think it's so smart what you're saying. I see some people, I'm like wondering, what's your end game out of this? Is it just to, but what you're saying is the end game, it's interesting. The end game is to do something else. And I wonder if that's what's going on with Hollywood people when I'm encouraging people to, I don't know, put theirselves out there with their art, their writing their music or whatever in my mind, to build an audience following to basically, so you can do the next thing. But I'm wondering how often that if you see that happening for people,Taylor Lorenz:I think the smart ones do recognize it. I feel like the internet, you're just hopping from lily pad to lily pad a lot of the time, which I know that's how a lot of creative people feel. It's just like, I think internet fame in itself can be a goal. I mean, look, someone like Mr. Beast, you've done it. You crack the code. Most people are not going to reach that level. And so it makes a lot of sense. If you're really into food, you're making food content, use that to open your own restaurant or food line or whatever, but use it to go into something that you're interested in because then you still, you always have that online audience. I still have my online audience. I have people that have followed me for a decade and maybe they know me from my blog or I had a Snapchat show in 2016 or things that I've done over the years, but it's always in service of my broader career.Michael Jamin:And so Well, maybe tell me what that is. Do you have a broader goal ahead of all this? Other than getting a book, which is pretty impressive.Taylor Lorenz:I know. I never thought I would write a book. And then just, there was a lot of revisionist history once the pandemic hit in 2021 and all these venture capitalists were pouring money into the content creator world, and TikTok was taking off. People were just kind of like, they were rewriting history. And I was like, I'm going to write the definitive history. I've been around for this. And I always thought it would be interesting to write a book. I didn't know anything about the publishing industry, except I have a couple friends that did those Urban Outfitters typeMichael Jamin:Books. That's so funny.Taylor Lorenz:See,Michael Jamin:Oh, go ahead. I don't cut you off. So your broader goals. Oh, yeah.Taylor Lorenz:I love media. I love media. I want to keep working in media. I love creative sort of endeavors. I like writing. I make videos as I am very obsessed with news media, so I wantMichael Jamin:To, right. So maybe more of that. There's a couple of things in that book, in your book that kind of took me a little bit by surprise. One is there are, well, first of all, I think there are people who make content. This is just my opinion, their content's a little disposable. And so you spoke about people who, I don't know, it's like pranksters who they got to keep upping the prank until it comes to a point where this one woman you're talking about, she was sick to her stomach with the pressure of having to come up with something all the time. And to me, it felt like that's because you're making, I guess I have a rule. I have a rule. I was like, I don't want to spend more than 10 minutes a day on this. But there are people who spend on posting, but there are people who put way a lot of time and pressure on this, and it winds up destroying themselves, don't you think?Taylor Lorenz:Oh, a hundred percent. I mean, there's a whole bunch of that in my book of just the burnout. And I think, like you said, it comes from just making content for content's sake and feeling like it's an extra burden and giving it, it's also when it's your whole livelihood, the stakes become higher. That's why I say you should diversify a little bit.Michael Jamin:Yeah. There was another, the thing that really surprised me that I learned from your book, because I'm a little older, so I don't really know all this stuff, but there's a whole culture of content creators who their job is just to talk shit about other content creators.Taylor Lorenz:And I'm like,Michael Jamin:Oh my God. And I've witnessed some of this stuff, but I didn't realize it's really a thing, like a gossip. They're just gossipers, right?Taylor Lorenz:Yeah. They basically have replaced tabloid news for the internet, and yeah, it's a huge drama channel industrial complex online that you're lucky if you've not encountered.Michael Jamin:Yeah. And do they go anywhere with, what do you think is the end game for them?Taylor Lorenz:Well, I mean, the woman that runs DUIs, which is more of a blind item, celebrity news page, she has a podcast. She also, she wrote a novel kind of based around the content. Others like Diet Prada have really successful newsletters. A lot of the other commentators like Keemstar and stuff, their goal is just to basically run these media empires of gossip, kind of like a TMZ for the internet.Michael Jamin:And then how are they further monetizing though?Taylor Lorenz:They monetize through partnerships and brand deals and a lot through YouTube ads. They get a lot of views. A lot of them get a lot of views on YouTube.Michael Jamin:See, I just turned, maybe I'm crazy, but I turned down a brand deal today because I thought, I don't know, it doesn't align with anything that I stand for. And I was like, am I crazy for turning this down? Or I don't know. But have you get approached by things that, are you turning stuff down?Taylor Lorenz:Well, yeah, I have to turn down so much stuff. I'll never forget a tech company, which I will not name, offered me $60,000 to do three video, three audio chat rooms for them.Michael Jamin:What is an audio chat room?Taylor Lorenz:Like? A live chat type thing? It was going to be like three hours of work. And obviously I couldn't do it because I can't take on sponsored content. I'm a journalist. You can't do that, especially not with a tech company. But I have to say that one really made me question my career choices. Normally people are like, can you promote X, Y, Z? And I explained that I don't do.Michael Jamin:So there's nothing that you can promote a journalist. There's nothing.Taylor Lorenz:I mean, I could theoretically probably promote companies that I don't cover, but I don't really want to, I don't need to make $500 promoting a mop.Michael Jamin:Right, right. Yeah, it's so interesting. You have to protect what you, it's so odd because I don't see a lot of people making brand when I'm scrolling through my pages for you a page on TikTok, I don't see a lot of people making brand deals, but I guess they are, right? Am I not seeing it?Taylor Lorenz:Yeah, the branded content doesn't always live on TikTok. A lot of times they'll create whitelisted content that the brand then promotes in a TikTok ad.Michael Jamin:Wait, when you say white, okay, explain this to me. So whitelisted means the creator. Go ahead.Taylor Lorenz:The creator creates branded content, but it doesn't necessarily live on their feed. They create it for the brand, and then the brand will use that video they made to the creator, like, wow, I love my air stick selfie thing. They'll run ads. So it's using that creator's likeness in the ad. It's the video that they made, but you're not going to see it on their page. You're going to see it in the,Michael Jamin:But do they not put it on their page or you're not going to see it? No one's going to watch it.Taylor Lorenz:Sometimes they do put it on their page, sometimes they don't. I mean, all of these are negotiated in the terms of the ad deals, which are structured increasingly in complicated ways. But I mean, there's a lot of spun con on TikTok. Also, sometimes there's product placement on TikTok. You'll see people doing videos with certain products. Sometimes the products have paid to be in their,Michael Jamin:And they have to mention this, right? They have to, I wasn't aware of this, but theoretically, yes, theoretically. But you're saying they don't always mention it. They don't always say, this isTaylor Lorenz:The sponsor. So the FTC says Yes, and I write about that decision in 2017 when they had to do that. The thing is that a lot of times they can get away with not saying it because it's not directly sponsored. For instance, you could have a long-term, year long partnership with the brand. They could be giving you tons of free product, but they didn't directly pay you for that post. So you feel like, oh, I don't have to disclose it,Michael Jamin:But they paid you for something. I mean, that doesn't make sense. They paid you. It's totally great. Okay. Yeah. ButTaylor Lorenz:People get around it by kind of fudging things.Michael Jamin:Who would get in trouble then if they got caught? The brand, not the TikTok or whatever.Taylor Lorenz:Not really. I mean, they went after Kim Kardashian. If you're that level, they'll go after you. But normally they're going after the brands. The brands are usually doing this. And also it's ultimately the brand or the agency that's running the marketing campaign that's up. It's up to them to enforce it and be like, Hey, put this in your caption.Michael Jamin:You said something else that surprised me in your book is that at one point, maybe it's still this way that the agencies are making the money and many of the creators are not getting that money. Explain to me what happens. I read it twice. It's like, wait, I'm missing something. SoTaylor Lorenz:There's been this explosion in sort of middlemen agencies, management companies that have come in. And what they do is they find these up and coming creators, they sign them into contracts like, Hey, I'll handle all your spun con, or I'll come in and do this deal. And then they take a huge portion, the brand pays maybe a hundred thousand dollars for a campaign. The agency will come in and take 50% of that or something, and then the rest goes to the creators. They allocate it, soMichael Jamin:They're getting something. You couldTaylor Lorenz:Argue that they are providing a service, and that's true, but the less ethical agencies are less upfront about the amount that they're taking.Michael Jamin:Interesting. Oh, they don't tell you how much it is? Probably,Taylor Lorenz:Yeah. They won't tell you what the brand originally paid. They'll just say, oh, it's $10,000 for this campaign. Nevermind that we got a hundred thousand dollars from the actualMichael Jamin:Brand. Oh, wow. Yeah. There's so much to be careful. There really is. And so I asked you a little bit earlier if you knew of many. Okay, so I'll let give you an example from my experience. So I did a show, I don't know, maybe 10 years ago, maybe not maybe 10. And the studio, we had a cast a role, and the studio wanted to get an influencer to play the part because this influencer had a bigger audience than the network had. And he turned it down several times because the money, he was going to paid a lot of money, but the money wasn't worth it to him. He was making more on a daily, which I was shocked about. And so do you know more? Can you speak more to that?Taylor Lorenz:That happens all the time. Yeah.Michael Jamin:Really?Taylor Lorenz:Yeah.Michael Jamin:I thought this guy was crazy, but okay, go on.Taylor Lorenz:Well, I mean, for a lot of content creators, their goal, it depends on the content creators. Some content creators, their goal is to get into Hollywood, and that would be an amazing opportunity for them. But especially the ones at the upper echelon, they're already the a-list of the internet. They're making millions of dollars. They really don't need to engage. And maybe it's a fun thing if they want to do it, and they have time and it's like a novelty type thing, or it adds some sort of legitimacy to them. But a lot of times, if they're spending, for instance, hours on a set, that's money out of their pocket that they could be making a lot. So it kind of doesn't make sense. And people have struggled. Not every content creator succeeds as well. So I think some of them do have that feeling of like, look, I'm really good at this. I know I'm really good at this. I'm making money. Do I want to gamble? Take time away from that. Try my hand at this thing that maybe I have and succeeded at before. It's not always there.Michael Jamin:Maybe I shouldn't even ask this on as we're being recorded. Do you know this guy, nurse Blake? Have you heard of him?Taylor Lorenz:I don't think so. Wait,Michael Jamin:Okay. Because I can't tell if he's a comedian or a nurse, but whatever he is, he's selling out arenas.Taylor Lorenz:Oh, I know this guy. I've seen him before. Yes. He's a comedian, right?Michael Jamin:Well, he doesn't act, but I also see him also posting in the hospital. It seems like he could be selling out arenas, but also he likes doing the rounds or something. I don't know. Yeah.Taylor Lorenz:So it's so funny. I don't know when you joined TikTok, but the earliest content creators on TikTok back in 2018, when it flipped from musically to TikTok, the earliest groups of content creators that emerged were police officers, nurses and service workers. And they were all gaining huge audiences. And I think it's because those jobs have an enormous amount of downtime, and they kind of almost have interesting stages themselves. They're always in the hospital or at Walmart working or whatever. And so there's a lot of people like that on social media that have kind of pivoted their career in that way to,Michael Jamin:Okay. I've been on a TikTok for maybe two and a half years, and at first I was very self-conscious. I was like, isn't this the app where teenage girls shuffle dance? Am I going to be the creepy guy on this app? And you're saying, it's so hard to tell. I mean, the first time, my first week and a half of posts were like this, this is cringey.Taylor Lorenz:They always say, you know what? My favorite quote is that I think all the time Xavier from Party Shirt said this, that everything is cringe until it gets views. And I think that'sMichael Jamin:True. Until it getsTaylor Lorenz:It's popular. It's not cringe anymore,Michael Jamin:I guess. So when you first started posting, did you look to anyone for, I don't know, to emulate?Taylor Lorenz:Yeah. I mean, there's this woman, Katie nais, who's still hilarious internet person, and she's a blogger too. She ended up working at Buzzfeed for a decade. I always just wanted to be like her. She was so creative and funny. She had this website called, I think it was called Party something. She would aggregate really funny party photos, and she just was really good at finding funny things on the internet.Michael Jamin:And do you know, have you reached out to her?Taylor Lorenz:Yeah, now I'm friends with her because I've been obsessed with her for my whole career. So sheMichael Jamin:Very really, so now you have a friendship with her. That's nice. Do you get recognized a lot when you're out and about?Taylor Lorenz:Not in la. No one gives a shit about me in la.Michael Jamin:But when you're out somewhere else, if I'm notTaylor Lorenz:VidCon or something, yeah, usually. I mean, I got recognized in DC on my book tour when I was eating. That was cool. But yeah, sometimes, I mean, when I was doing my Snapchat show, I got recognized a lot more, I think, because a lot of kids were seeing me on the Snapchat Discover Channel thing.Michael Jamin:I was on your link tree, you're everywhere, but are you active on every, I'm like, damn. She's on every platform.Taylor Lorenz:I'm an equal opportunity poster. Well, I mean, I cover this world, so I kind of feel obligated to be on everything. I definitely think Instagram and TikTok are my main ones. And then I have threads also now,Michael Jamin:Which I, are you making different content you posting? Are you reposting or posting brand new stuff? Everywhere.Taylor Lorenz:I repost. If I make a short video for TikTok, I repost it on reels and YouTube shorts. YouTube's always the one that I like. I'm so lazy about, honestly,Michael Jamin:It's hard to grow on YouTube. It's soTaylor Lorenz:Hard to grow, and I don't know, it's just like there's something demoralizing about YouTube.Michael Jamin:Interesting.Taylor Lorenz:But yeah, I think it's because it's like, you know how it is, it's like you post something, you get a hundred thousand views on TikTok, it's doing really well on Instagram. And then you go on YouTube and it's like me, 2000 views, and you're like, oh, I'm aMichael Jamin:Failure. What's the point of that? And you were blocked. Are you still blocked from Twitter or whatever? Twitter is?Taylor Lorenz:Yeah. Elon banned me for a while. I did get back on. I don't really, Twitter is dead to me, honestly.Michael Jamin:What did you do to get banned?Taylor Lorenz:I was, well, he banned me under this rule that he made that said you couldn't promote your links to other social media profiles. And I was promoting my Instagram account, so that's what he technically banned me under. But what he really banned me for is that I reached out to him for comment. I wrote a story about how he completely lied about a bunch of stuff, and I reached out to him for comment. And the minute I reached out to him for comment, I got banned. And then he tried to say, oh, it was actually because she was promoting her Instagram. No,Michael Jamin:That was Oh, interesting. So do you think he was guy, do you, you made it he enemy. He responds. He knows who you are and hates you.Taylor Lorenz:Yeah. Oh, he definitely, yes. I mean, I've interacted with him somewhat frequent basis, but that week I was not the only journalist that was banned for reporting on him. So the same week, drew Harwell, my colleague was banned, and then a bunch of people from the New York Times, we all got banned within a week, soMichael Jamin:Wow. BackTaylor Lorenz:On.Michael Jamin:And then they let you back on. Interesting. And then you're, screw this.Taylor Lorenz:But yeah, Twitter is also just very toxic and political, and I think culture is happening more on TikTok.Michael Jamin:Don't you think they're all toxic?Taylor Lorenz:Oh, totally. But I think Twitter's uniquely toxic. TikTok is toxic in a different way.Michael Jamin:Okay. I want to know what you think the differences are in each platform, because I have opinions, but Okay. Yeah. What are your differences? I mean,Taylor Lorenz:Twitter is just very political, and it's political in a way that there's a lot of, especially as a member of the media, it's like there's a lot of journalists on there. I think it's a giant group chat for a lot of media people. It's stressful. Editors, bosses are on there. I don't really use it. I use it to keep up with, I'm super immunocompromised, and so I keep up with Covid News on there. It's really the only thing I use it for. It's really hard to get news and information because Elon has sort of made so many changes to make it hard to get news on there. So I don't mess with Twitter. TikTok I love. But yeah, I mean, TikTok is just mob mentality. So I mean, I'll never forget. I defended, do you remember West Elm Caleb?Michael Jamin:No. And it's so funny when you say these names. I'm like, these ridiculous names. I'm like, no, I don't know that comic book character.Taylor Lorenz:Okay, well, west Elm Caleb a year and a half ago was getting canceled on TikTok. He was a guy that ghosted a bunch of people. He ghosted a bunch of women, and a bunch of women went on TikTok, like, this guy's a ghoster. And it got so crazy that he got fully doxxed and fired from his job. And anyway, I defended him and I was like, Hey guys, can we calm down a little bit? We haven't even heard this guy's side of the story. I believe he shouldn't be an asshole to women, but I've been doxxed. It sucks. Don't do that. And TikTok, they came for me hard on that one. They were like, no,Michael Jamin:No,Taylor Lorenz:Somebody from West Tom, Caleb.Michael Jamin:And then, yeah. How worried are you about, I worry about that. How worried about you getting haters and stuff?Taylor Lorenz:I've gotten haters. I write about YouTubers for a living. So if I was worried about haters, it doesn't matter. My friend is a pop music writer, and he was saying, he told me a couple years ago, because if anytime you are covering something with a fandom, you're going to deal with haters. And they're vicious, but a lot of them are 11 years old, or they're just online and they're mad andMichael Jamin:Okay. Do you respond to your posts comments on your post? You do.Taylor Lorenz:I do. I try to mean, don't try not to respond to haters. Sometimes I'm weak and I do respond to the haters, but noMichael Jamin:Good comes of it. Right? When you do, no,Taylor Lorenz:No good comes of it. But sometimes you just, I don't know. You just got to, butMichael Jamin:Even if you respond with kindness, which I did today to somebody, he just doubled down on his stupidity. They don't care. Why am I trying to,Taylor Lorenz:They don't care at all. They're like, fuck you.Michael Jamin:Yeah,Taylor Lorenz:Yeah. No, it doesn't help. I mean, sometimes if I'm bored, I've replied something, but I mostly just ignore those people, or I limit my comments and I try to keep it to that only my community's engaging and not a bunch of randos. Or if they have a good faith question, I get a lot of story ideas from people commenting. Or sometimes smart people will comment, you click on their profile, you're like, oh, cool. Person's interesting. Right.Michael Jamin:Okay. Okay. So you sound emotionally mature about this whole thing? Maybe more than I am because I get upset sometimes.Taylor Lorenz:No, trust me, I've had my moments. It's hard. But I think I've just been through it so long. I've been through the cycle so many times that I'm immune.Michael Jamin:And do you talk to your colleagues who, I guess, are they as active as you are on, let say on TikTok? No. Other reporters?Taylor Lorenz:Journalists are not. It's weird with journalists on TikTok. They're not really, journalists are so addicted to Twitter. Twitter is where everyone in the media is. And there's some journalists on TikTok, but not that many. So the ones that are, I think we all try to support each other,Michael Jamin:Or it's just not competitive. Yeah, it's supportive. You think?Taylor Lorenz:I try to be supportive. I don't, like somebody said this really early on of Don't compete collab or something. It was like early thing. And I really like that. I felt that with blogging too. I had made friends with a lot of bloggers. We were all in the same group. And it's just like the internet is really vast and everyone is unique. AndMichael Jamin:There's not tooTaylor Lorenz:Many internet culture reporters either. So,Michael Jamin:Well, that's a question I can't tell how big TikTok is. Sometimes I'll see, oh my God, this creator knows that creator, and they talk whether they stick to each other. I'm like, wow, this is a small place. But then I'm wondering, well, maybe I'm only seeing this wedge of the pie, and it's actually much larger. I can't get a sense of how big this thing is.Taylor Lorenz:It is really big. I mean, it's like billions of users, so it's really big. But I do think that inMichael Jamin:Terms of the creators though, theTaylor Lorenz:Creator community is smaller than you think. And I think the people that are really active, they form a network. And you're always going to get people that are a couple degrees away from people that you follow usually.Michael Jamin:Yeah. Where do you think, I'm certainly not the first person to say this, but during the early days of Instagram, it was always about people. This is the glamorous life. It was all made up. It was like they got sponsored posts to be on a yacht or whatever. They're pretending to be rich and famous or whatever. And because we're all idiots, we're like, wow, they're rich and famous, and they're living that life. And then that somehow evolved to now influences turn to creators, and creators are more authentic. This is my life. Take it or leave it. What do you think there's next? What comes next after that? Do you have any idea? Yeah,Taylor Lorenz:I mean, I think we always flip back and forth between aspirational versus authenticity. And people want a little bit of both. People still want the aspirational content. It's just not everything. And I do think that the authenticity is part of the appeal, and I don't think it's going away anytime soon. But yeah, I don't know. I mean, different content formats perform well depending on what the platform is promoting. So right now, they really want long form video. So I think we're going to see people that succeed in long form grow faster.Michael Jamin:But do you think when you're posting, maybe you don't even want to answer this on the air. I wouldn't blame you. Are you thinking about, oh, this post will do Well, I should talk about this. I know it'll do well. Or is it like, this is what I'm talking about, take it or leave it?Taylor Lorenz:Yeah. It depends on the day. Some days so many times where I'm like, oh, I know this would do well, but I just don't feel like posting today.Michael Jamin:Oh, really? EspeciallyTaylor Lorenz:Lately, oh my God. There's been so many things where I'm like, oh, that's going to go viral. And then I see somebody else posted and I'm like, good. They got the traffic. You have to be early on something. And then sometimes just most stuff I just post because I think it's interesting, and it's just my taste and news and information and just something I found interesting. But howMichael Jamin:Long will you spend on a post? Do you do it again and again until you get it right? No. One take and you're done?Taylor Lorenz:Usually, maybe I'll do two or three if I might rerecord something, but I don't take it that seriously. It's just one of many things I'm doing during the day, so not, and especially since I've been on book tour, I've just been too busy to make. I go through periods and it depends on how busy I am, how many videos I'm making.Michael Jamin:And how much of your personal life, because I know you're talking about technology and you're interviewing people and you're covering events like a journalist, but how much of yourself do you share?Taylor Lorenz:I share my opinions. I mean, I'm very opinionated, and I think I always tell people that you can be very authentic. And I think a lot of people would find me to be very authentic person online. I'm not a shy person or something, but I don't talk about my personal information. Also, it's not that interesting, I think. Oh, butMichael Jamin:People would love to know. People would love to know. I know Date youTaylor Lorenz:Nosy. They're nosy. But I think about all the cool stuff that I did in my twenties, and I'm like, I wish I had TikTok, I think back then, and I was talking about my life more. I was doing more and going out more. And now I'm like, I have a little bit more of a chill life. So sometimes I talk about walking around the Silver Lake reservoir or something, but I'm not like, if I go to a really interesting event, maybe I'll share it. I mean, I just went to Dubai and I actually haven't posted yet, but I'm making a video about that.Michael Jamin:I can't believe you went. That flight is just too long. I would think it wasTaylor Lorenz:So long. It was so long. But I got invited to this book festival, and I thought, when else am I going to go?Michael Jamin:Okay, what is a book festival?Taylor Lorenz:So there's this really big book festival called the Sharjah International Book Festival, and it's huge. And there's thousands of authors and books, and yeah, I got invited to speak, and I thought,Michael Jamin:Oh, you're speaking. So what if you're not speaking, what happens to Is everyone, okay? If you weren't invited to speak, would you be at a booth? What is it? Yeah,Taylor Lorenz:You just attend. I mean, there's thousands of people that attend and they just come from all over to, there's a lot of book buyers, and then there's a lot of publishing industry people in the Middle East and in Europe and that side of the world. And then there's just a lot of people that are interested in meeting the authors, going to panels. There's a lot of celebrity author type people there.Michael Jamin:Who's setting that up? Your publisher or who?Taylor Lorenz:Yeah, the publisher. Actually, I think maybe my book agent forwarded it to me. They were forwarded it to me, look at this random thing, and I was like, no, that's so cool. I want to do it.Michael Jamin:Oh, wow, really? And so did they fly you out?Taylor Lorenz:Yeah, they flew me out. They didn't pay me or anything. They just flew me out and covered my travel, which honestly was enough for me. It was pretty cool. HowMichael Jamin:Many days were you there?Taylor Lorenz:I was only there for three, four days. Four days,Michael Jamin:Including the flight, which was theTaylor Lorenz:Travel was a day on each side because the travel wasMichael Jamin:Long. And then you were there for the rest of the time, and you spoke on the panel? I was on the panel. That's an hour,Taylor Lorenz:Michael. I just did tourist stuff. I didn't have to do anything aside from that, so I was like, let me just go.Michael Jamin:Oh, okay. So it was a chance for you to be a tourist.Taylor Lorenz:Yeah. My friend is an editor over there for Bloomberg, and so we hung out and just did all the cool Dubai stuff together.Michael Jamin:But I'm curious because it's interesting, since you were a journalist, are we supposed to know anything about you? I mean, are there rules? Yeah,Taylor Lorenz:It's so funny. So the old school sort of notions of journalism is like, I'm serious, and I don't talk about my life, and I never share an opinion. I think that's a very outdated and dumb model of journalism that nobody will trust. That's why we have a crisis in media, I think, of trust is because people don't know about, there's so much mistrust in the media, and I'd much rather be upfront with my beliefs and tell people, Hey, look, this is what I'm thinking about the issue. Do you think I'm wrong? Do you think I'm right? Ultimately, the goal of writing any article is to be fair and accurate.Michael Jamin:WeTaylor Lorenz:AllMichael Jamin:Have. I thought you weren't supposed to be biased. I thought you were supposed to. Why do I know? I thought you supposed to. This is theTaylor Lorenz:Fact everyone. Everyone has opinions, right? There's no such thing on earth. The point is, is that you're not allowed. You shouldn't let that kind of shape the story to the point that it alters the truth. But to act like, oh, I don't have opinions as a journalist, that's stupid. We're all human beings. We all have opinions. Baseball writers that write about sports teams, they still are fans of a specific team. That doesn't mean that it's going to shape their coverage. That's the most important thing. It's like, I might love or hate certain things on the internet, but I'm not going to let it affect some story to the point that it would be truthful. You know what I mean?Michael Jamin:This gets into something else. Whereas you're kind of maybe, I don't know if this isn't the right word, but a celebrity journalist, because you recently had a photo spread in this magazine, and they're dressing you up and couture, right? I mean, so what's that about? You're celebrity journalist.Taylor Lorenz:I know. I've been in a couple things like that. Yeah, I mean, look, journalists have always been, it's always been a public facing job. It's always been a public. I mean, Woodward and Bernstein, obviously. Bob Woodward also works at The Post. He's incredibly famous. Anderson Cooper, Barbara Walters, the original female journalist, Katie Couric. All these journalists are, well-known household names because of their journalism, but of course, they're also people. And I think with the internet now, that's all come to a smaller scale. I'm definitely not at those people's levels at all. But with the internet, I think we all follow journalists and content creators. And again, it goes back to transparency. That's what I think is a big problem with that old model of media, where it's like, don't ever speak your opinion or something on anything. Because I think actually when you don't and you try to sort of act like, oh, I don't have an opinion, that's a lie.Everyone has an opinion on everything. Or maybe, but you should just be honest about it because that helps people trust you. I can be like, look, I don't love, this is a total example. I do love Emma Chamberlain, but I could be like, I don't love Emma Chamberlain, but I had the opportunity to interview her editing style was pioneering. It transformed YouTube. I wrote about it in my book, X, Y, Z. I'm not going to let my personal feelings about her color, but I would answer questions about it. If somebody asked me, I'd be like, well, here's my thoughts.Michael Jamin:Okay, so what is your daily life then? Do you freelance all these? How does it work? What is your life?Taylor Lorenz:No, I work for the Washington Post. So I am on our morning meeting every day at 8:00 AM on Zoom.Michael Jamin:Okay. Is no one, well, that's a good question. Is everyone online now? If you work for the Washington Post, does no one go to the office?Taylor Lorenz:They have a big office in Washington, but I moved out here with the New York Times, so I was at the New York Times for several years, and New York Times does have an office in la. So they moved me out here, and then the Post recruited me, and I was like, well, I'm not leaving la. And they have a lot of people from the post in LA obviously as well. Are youMichael Jamin:From, I thought you were from la. No,Taylor Lorenz:No. I live in la, but I'm from New York originally.Michael Jamin:Oh, where are you in New York? Are you from?Taylor Lorenz:Well, I lived on the Upper East Side when I was little, and I lived all over New York. I've lived, I think 11 different neighborhoods,Michael Jamin:But all, not all in Manhattan?Taylor Lorenz:No, no, no, no. Mostly in Brooklyn. I was in Fort Green before I moved.Michael Jamin:Okay. I didn't know that. So you're a New Yorker. Okay. Yeah. And then not anymore. So are you pitching them ideas or are they telling you, this is what we want you to cover today?Taylor Lorenz:It's a mix. I would say it's probably like 80 to 90% coming up with your own ideas. The rest of it. Sometimes there's an editor assigned story. Most of the time it's breaking news. So for instance, the war breaks out. I cover TikTok. I cover the content. So they're like, well, is there an angle on it?Michael Jamin:Why is news? My God. So what is most of your day then? Is it surfing the internet, or is it making calls to experts or whatever?Taylor Lorenz:Yeah, it's a mix. I wish it was surfing the internet all day, but it's a lot of meetings, a lot of, we have editorial meetings where we discuss coverage and we all give feedback on our stories. And I have meetings with my editor to talk about stories. I write features, so I generally write longer pieces. Sometimes I'm working on investigations for months.Michael Jamin:And then how did you have, go ahead. GoTaylor Lorenz:Ahead. Oh, yeah, it's a mix of, I do a lot of interviews and I do a lot of informational interviews, and I do a lot of consuming content andMichael Jamin:Keeping Well, then where did you get the time to write this book? It sounds very busy.Taylor Lorenz:I know. And I didn't take book leave like an idiot. I was like, I'll just do it nights and weekends.Michael Jamin:People go on book leave.Taylor Lorenz:Leave, yeah. But it's unpaid, so that's how they get you. And I didn't want to do that, so I thought I'll just try to do it all on top of my job. And I did, but it took me two years.Michael Jamin:Are you working on your next book? What's that?Taylor Lorenz:No, I'm not doing another book.Michael Jamin:You're done for now, but you will at some pointTaylor Lorenz:Maybe. Sure. Like yours. I don't want to do that right now.Michael Jamin:It was really hard. Why? I know. It was a lot of work, a lot of research, andTaylor Lorenz:Just the fact-checking. I interviewed about 600 people for the book, and it was just a lot. And throughout it all, I make videos, I do. I speak at things. I go to events. I have a lot going on in between.Michael Jamin:And how are you getting these speaking engagements? You're a celebrity now?Taylor Lorenz:No. No, but I talk at industry conferences type stuff a lot. Just like VidCon or things likeMichael Jamin:That. What is VidCon? Stop talking. I know what I'm talking about. I don't even know what that is.Taylor Lorenz:Wait, Michael, you need to come to VidCon next year.Michael Jamin:I don't even know what it is.Taylor Lorenz:Oh my God. VidCon is the largest, soMichael Jamin:Ignorant.Taylor Lorenz:No, no, no. You know what? You would have no reason to know it. It's the biggest conference for, it's a convention for online content creators. It's in Anaheim every year. They also have VidCon Baltimore this year. But it's a big convention where all the big content creator type people get together and the industry sort of.Michael Jamin:So are you going as a guest or are you going as a speaker?Taylor Lorenz:I've mostly, in recent years, gone as a speaker, but I used to go as a guest.Michael Jamin:And so what do you do as a guest?Taylor Lorenz:As a guest, you get to meet your biggest, you meet the big content creators that are there, talkers meet and greets. You go to panels, you can go to events. There's parties. It's kind of like a fun thing if you're up and coming or you care about the internet. It used to be a really big thing. I mean, I talk about this a little bit in the book, but it started in 2010, and it started as this small thing of just the biggest creators on the internet getting together just because there was no event, physical event. And then it got bought by Viacom, and now it's this huge.Michael Jamin:So now they reach out to you to say, we want you to be on a panel or something.Taylor Lorenz:Yeah, I'm always talking about, sometimes I do interviews with big content creators on the main stage. They need somebody to interview Charlie Delio or something. And so I'll do that. Sometimes. I'm talking about, I mean, I did one, I think it was last year or the year before, on news content creators. That's something that people always want me to talkMichael Jamin:About all. So we don't live far for each other. So we'll ride fair. If you like riding in a Jeep, you're not afraid of writing into Jeep.Taylor Lorenz:I think you might be recognized. Maybe you'll be a speaker soon. They love the entertainment people. There was some women they had there one year. They always get some weird entertainment celebrity that has a YouTube channel to come, and they're always really out of place. It's very funny.Michael Jamin:They wait, why would they be out of place if they're famous? If they're a celebrity? They'reTaylor Lorenz:Not internet people. They don't even run their own channel usually.Michael Jamin:Oh, I see. So that's a whole different thing when celebrities put themselves. That's the thing. I read somewhere, well, I guess there was pushback when a celebrity gets on YouTube, it's like, Hey, or TikTok, get off TikTok celebrity. It's like, why is everyone so mad? But I guess maybe talk a little about that. What happens when they try to do that?Taylor Lorenz:I think it's just these old school entertainment. People come on and they don't really understand the app and they clearly are not doing it themselves. They have some content assistant and then they're like, Hey kids, I guess I have to be here now. And it's like, what are you doing here? I will say, the musicians do a better job. Megan Trainor has Chris Olsson, her TikTok buddy that, and music is such a part of TikTok. I feel like they get a warmer reception. But people, I mean, when Reese Smith first joined, people were like, they were in the comments being mean toMichael Jamin:Her. Aren't you rich enough? Reese? But there is some woman I follow, and I was shocked. I'm like, there's so many ways that people are making on this. And she talks about politics, so she's like a punt. That's her passion. So I'm like, okay, let's get her take on it. But she also does these, they're called TRO trips. Have you heard of this TRO Trotro trip? And so basically it's this website. So she'll run a trip in Europe, we're going to Italy for a week, come onto this and you can pay her basically to be your tour guide.Taylor Lorenz:Oh, this, I see. It's like a host. They're hosting you for the tour. Interesting. Oh my gosh,Michael Jamin:Yes. I'm like, how smart. So she basically gets a free trip, but she has to be with people for a week. She's the host. Well,Taylor Lorenz:They were doing that with our New York Times when I was at the New York Times. I think they stopped doing it because one of the reporters was being controversial on the trip, and I think they kind of scaled back the program, but I think they were like, actually, we don't want our reporters talking to the public. But they used to have people travel with New York Times reporters, and that was a way that the New York Times made money off journalists.Michael Jamin:Oh, wow. And for the same kind of thing where let's go tour the Vatican or something.Taylor Lorenz:It would be like tour the Vatican with the TimesMichael Jamin:Reallys recording or whatever. It's so weird. But there's just so many ways for people to, I don't know, make a name for themselves. I was good for her.Taylor Lorenz:Yeah, totally. I mean, there's just endless ways to monetize online.Michael Jamin:I haven't discovered any of them yet, but I'm waiting for it. I got my eyes peeled, but okay, so yeah, so you go to this VidCon thing, you do a panel, and then people want your opinion. And I imagine it's people a lot smaller than you who aspire to be you.Taylor Lorenz:Yeah. Or it's just people in different industries that are there to learn more about the industry or It's a lot of brand people too. The head of marketing for Walmart or something.Michael Jamin:Oh, really?Taylor Lorenz:Want to understand the ecosystem.Michael Jamin:Oh, so they're not talking, I don't know, conferences. I don't know what this is about. It depends.Taylor Lorenz:I mean, sometimes those people, if they're really good, I mean, I actually know the woman who runs the Walmart, influencer marketing was also at this event I was at recently. So that's a bad example. But a lot of times it's like marketers, maybe they're not totally in it yet, or they're a brand that wants to understand the content creator world, but they don't. Maybe they're not doing that yet, or they want to do more of it. So they go to these events to build connections. AndMichael Jamin:So you're saying, I should go to this thing.Taylor Lorenz:I think you should go to VidCon. It's interesting. It's fun to just go to once. And there's a lot of fans there too. So there's the industry side, then there's the fan side, and then there's just all these sort of adjacent events.Michael Jamin:Hey, it's Michael Jamin. If you like my content, and I know you do because listening to me, I will email it to you for free. Just join my watch list. Every Friday I send out my top three videos of the week. These are for writers, actors, creative types, people. You can unsubscribe whenever you want. I'm not going to spam you, and the price is free. You got no excuse to join. Go to michaeljamin.com. And now back to what the hell is Michael Jamin talking about?Alright, so what about other people who have, I guess, transition from, I guess I'm saying, what I'm thinking is how can we help my listeners into, I don't know, everyone turns to me for like, Hey, what should I put on? It's like, I don't know, just build a following. Do you have advice for them?Taylor Lorenz:Everyone asked me the same thing, and I'm like, I wish it was easy. If I could give you a three step thing, we would all have millions of followers. I mean, a huge part is consistency, which is very hard. And I have to say, you post forever. You can't get obsessed with the views because people just quit and they feel like, oh, if you have an audience of 500 people, that really matters. It is very much about creating more of a community of people, and it is scale. So I think it's just, that's so valuable, and it also matters who's following you, rather than just getting random views. You want influential or interesting or whatever type of market you're trying to go for. You want the right people to follow you.Michael Jamin:Well, this is something that I was always perplexed at the beginning of TikTok, so I guess both of them, but on TikTok, you have followers that are, I get all these followers. I'm like, but if I have all these followers and only a 10th of them are seeing an average post or less, what's the point? Why? Why do I keep track of this metric? Why do they have the metric of followers if they don't show it to your followers?Taylor Lorenz:The way that I explain TikTok is following is just one signal to the algorithm. It's one signal out of probably thousands. And so it's useful. It's like, I have an affinity to this person. Obviously, you follow people too. Then you're mutuals, and then you can DMM with each other more, or comment. Sometimes you can put videos to Mutuals only. So there is a value, I think, in following, but most of people's experience is of consuming content on TikTok is obviously through the for you page. So I wouldn't even, followers doesn't matter that much, right?Michael Jamin:It doesn't.Taylor Lorenz:And also it's like, again, it goes back to who is following you. There's so many creators that people always wonder this with press, because people are like, why? How do I get written about? And it's really not about how big you are. It's like, do you have something new and interesting, or have you cultivated some sort of unique audience that maybe hasn't been served before? Things like that. So you don't have to be the biggest,Michael Jamin:Well, I say this, there's this one guy, I'm trying to remember his name, but he has a show, he's sold a show somewhere. I should know his name, but it was a Twitter feed, and he was just writing, he had a thriller. So every day he posts a little different line from this thriller he was writing. Oh, cool. And then it just blew up because it's mystery and suspense, and people wanted to find out what was in the basement or whatever. Then he was able to, I was like, oh, that's a good idea. So he did it. And so I don't know. Are you following any other people who do anything like that?Taylor Lorenz:Twitter. Twitter. There was this period on Twitter where there were a lot of TV writers and comedians were trying things out there, and you could really get traction, and people were looking at Twitter. Now, no one's looking at that anymore. I would say it's much more TikTok and Instagram for comedy, and that's just where it is. But I mean, things people make, I mean, I was interested, this guy, Ari Kagan, who is kind of like a young director, content creator. He doesn't like to be called a content creator, but he just sold a show with Adam McKay, where they're making it for TikTok.Michael Jamin:They're making it for TikTok. Wait a minute, what does that mean?Taylor Lorenz:They're going to make it on TikTok. It's going to live on TikTok, I guess,Michael Jamin:But not as, what we do is some kind of different TikTok channel or something where it's long form.Taylor Lorenz:Yeah, yeah, it's, hold on, let me find it. I want to actually get it right. Oh, yeah. Here. It's a series that they're making on TikTok. Hold on. It happened when I was, okay. I just put it in the chat. Okay. Yeah, I think it's scripted. Yeah, it's a scripted series to run on TikTok.Michael Jamin:So you may or may not. That means you may or may not see it like we were just talkingTaylor Lorenz:About. Yeah, exactly. Yeah, so I guess they're hoping that it'll perform well. I'm sure they're going to put paid media behind it, butMichael Jamin:Oh, okay. Oh, okay. How interesting. Yeah, this whole thing is so you got to be honest, people are always saying, how do I break into Hollywood? And I'm thinking, well, you don't need to. You can do this on your own.Taylor Lorenz:I mean, Ari did a lot on his own initially. I think that's how a lot of people get in there, is they sort of start making their own little projects. I mean, one person that I think has done this really well, he is an actor. His name is Brian Jordan Alvarez. Do you know him?Michael Jamin:No.Taylor Lorenz:Oh my God.Michael Jamin:So I got to know who.Taylor Lorenz:Alright,Michael Jamin:Put him in the chat.Taylor Lorenz:I'm going to put him in the chat. He was an actor on Will and Grace and he was in Megan, and he is very funny. I'll put, oh, he has a Wikipedia now. He's big time. He's an actor, but it makes this really amazing content. And he started making music online and these series online and I think it's like helped him a lot. I mean, everyone knows who he is now. He's been in Time Magazine and stuff, and it's mostly from his, he made this YouTube series a while ago that was popular, and then his tiktoks took off and he started making music. But it's like,Michael Jamin:All right, I got to follow this guy. You're sayingTaylor Lorenz:He's very funny, but it's just raised his profile a lot. I think what he does on the internet, and he does it in a really fun way. And I listened to him on a podcast recently, and he was just saying how it's led to more people kind of knowing his work, and obviously people see his work and then they want to work with you.Michael Jamin:Right. Do you have a podcast yet?Taylor Lorenz:Careful.Michael Jamin:Maybe I might tune.Taylor Lorenz:We'll see, I had one and then the New York Times made me quit it. The Times is crazy about outside projects, so I quitMichael Jamin:It. Oh, really? Hope that the post is not as, maybe they don't.Taylor Lorenz:They're better. That's why I work there now.Michael Jamin:Wow. You got your hand in so many different things. Yeah. I don't know. I just thought you're absolutely fascinated because you are an expert, but you're also in it. You know what I'm saying? Yeah, yeah. Is it overwhelming for you?Taylor Lorenz:I think I have good boundaries because I mean, I'm grateful to be a millennial where I think it's harder for the 22 year olds today where everything, their whole social life is so enmeshed in the internet. I think I have a healthy distance from it, and I have friends that are just my friends that aren't internet.Michael Jamin:So your boundaries are basically how much time you're willing to invest every day on being online. And also justTaylor Lorenz:Like I have a very strong sense of self, and I think when you get on the internet, everybody tries to push you into doing things or making content or being like, oh, you should do this, or, oh, you should do this. And I have always had a mind of, actually, I know what I want and I'm going to do this, and I'm just going to do only what I want. I know who I am if people, because it's hard on the internet and sometimes things perform well. So if I had continued to talk about my life, I think that probably would've performed well back when I was blogging, but I made the decision to just stop doingMichael Jamin:That. But you're right, if something's controversial, I try to steer away from controversy. I feel like I'm just here to talk about art and entertainment and writing and Hollywood, but I also know if I took a bigger stand on things and pissed people off, it would go viral. But then what's the point of this? I don't know.Taylor Lorenz:Then you get all these haters. I've written a lot of political stories that have to do with the content creator world and the political ecosystem, and so those are some of my most viral stories. But I have to say, it just gets you a lot of people that then follow you. They feel like, oh yeah, she's on our side on this, or whatever, or, oh, I hate her. She wrote about this content creator that. So I think it's just better to just be true to yourself. Yeah,Michael Jamin:Though I did a post couple, maybe when I first started off and it went, somehow Yahoo picked up on it and I was on Yahoo Entertainment News. My first reaction was, oh no. You know what I'm saying? Oh no. People know about me. It felt wrong. I don't know. I was like, I don't want people knowing about me.Taylor Lorenz:I know. It feels really, I mean, I've struggled with that a lot, and I actually really like being in LA for this reason. I was thinking just the past few years, more and more people start to know who you are and start writing about you, and that is such a mind fuck. I used to really believe, oh, every journalist is so great and they only have the best interests at heart of, and that is just not true. Unfortunately, there's a lot of places that just aggregate things for clicks and whatever, or they're very partisan in certain ways, and yeah, it's very hard. I used to run around trying to correct people. I tried to correct my own Wikipedia page, and then now I'm like, I gave up on all of that. I don't care.Michael Jamin:See, that's something I still frightens me a little bit is when people will stitch me or they'll make me the face of whatever argument they want. I'm like, whoa, whoa, whoa. Keep me out of it. I never said any of this. I didn't sign up for that. This is your thing. I know that frightens me a little bit,Taylor Lorenz:I think, because everybody uses each other as characters online, and so it's like you're the main character. Then you just use all these other people around you as supporting characters and whatever you're trying to do on the internet,Michael Jamin:I thinkTaylor Lorenz:Really, butMichael Jamin:Well, that's what scared me about what you wrote in your book, but those people who just, they're whatever, they gossip about other tiktoks like, whoa, whoa, whoa. This just feels so wrong to me. Just do your own thing.Taylor Lorenz:I know.Michael Jamin:Don't try to cancel me. What are you doing?Taylor Lorenz:I know my first job in media was at the Daily Mail, and it was such a great training ground for media because tabloid news is just so relentless, and

Please SHARE this episode with someone who loves old time radio shows like you do! And get FREE full-length pulp audiobooks, pulp eBooks, and old-time radio shows by emailing WeirdDarkness@RadioArchives.com!IN THIS EPISODE:00:00:00 = Murder Clinic (1942), “The Scrap of Lace”00:28:18 = Screen Director's Playhouse (1951), “Spellbound”01:28:11 = Tales of the Frightened (1957), “Chung Ling Soo”01:32:31 = The Unexpected (1947), “Solid Citizen”01:47:09 = Somebody Knows (1950), “The Unsolved Murder of Paula Kohler Eubanks”02:17:01 = The Weird Circle (1943), “Fall of the House of Usher”02:44:14 = X-Minus One (1955), “And The Moon Be Still As Bright”03:08:15 = Strange (1955), “Captain Robinson”03:22:49 = The Whistler (1945), “A Pattern For Terror”03:52:18 = Suspense (1942), “The Devil In The Summer House”04:21:47 = The Humphrey Bogart Theater (1949), “Dead Man”04:52:52 = Witch's Tale (1937), “The Boa Goddess”05:18:00 = The Strange Dr. Weird (1944), “The House Where Death Lives”05:31:39 = Beyond The Green Door (1966), “Harwell and the Matland India”05:35:10 = ABC Mystery Time (1956), “Sherlock Speckled Band”05:58:50 = Appointment With Fear (1945), “Morning Glory”06:25:28 = Beyond Midnight (1968), “Paxton's House”06:50:37 = The Black Castle (1942), “Escape To Death”07:03:59 = The Black Mass (1963), “Ash Tree”07:34:16 = CBS Radio Mystery Theater (1974) “The Return of the Moresbys”08:20:45 = The Creaking Door (late 1950's), “Vagrant”08:50:01 = Creeps By Night (1944), “The Final Reckoning”09:17:58 = Crime Classics (1954), “How Supan Got The Hook Outside Bombay”SOURCES AND ESSENTIAL WEB LINKS…This episode is sponsored by http://RadioArchives.com Weird Darkness Retro Radio theme by Storyblocks.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46Find out how to escape eternal darkness at https://weirddarkness.com/eternaldarkness WeirdDarkness® - is a registered trademark. Copyright, Weird Darkness, 2023.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3655291/advertisement