Podcasts about londoners

For years, Londoners lived in fear of a shadowy predator known as the Croydon Cat Killer. More than 400 cats were found dead—mutilated, decapitated, or dismembered in what appeared to be calculated and sinister ways. Pet owners were terrified. The media ran wild. Scotland Yard launched a full-scale manhunt. But after four years of panic and a $170,000 investigation, authorities came to a shocking conclusion.

Patrick Katzenberg, general manager of The Londoner, a Preferred Hotel on London's Leicester Square, speaks with Alan Fine of Insider Travel Report about what makes the property the world's first “super boutique hotel.” Katzenberg shares how the hotel's central location, 350 rooms and suites, and eight stories above and below ground create a unique urban resort experience. For more information, visit www.thelondoner.com.  All our Insider Travel Report video interviews are archived and available on our Youtube channel  (youtube.com/insidertravelreport), and as podcasts with the same title on: Spotify, Pandora, Stitcher, PlayerFM, Listen Notes, Podchaser, TuneIn + Alexa, Podbean,  iHeartRadio,  Google, Amazon Music/Audible, Deezer, Podcast Addict, and iTunes Apple Podcasts, which supports Overcast, Pocket Cast, Castro and Castbox.  

Martin Horak is the Chair of the Council Resourcing Review Task Force and has information on how Londoners can have a say on London city councillor salaries and expense accounts.

In the second episode of our London miniseries, James takes us back to 1665, when the Great Plague of London ravaged the city. With streets lined with plague doctors, houses marked with ominous red crosses, and a desperate government struggling to contain the outbreak, this was one of London's darkest times.James uncovers how the plague spread, how Londoners endured months of quarantine, and the eerie similarities between 17th-century lockdowns and the COVID-19 pandemic. From mass graves to ineffective cures, we explore how the city battled one of the worst health crises in history—and the lessons it still holds today.

Eureka! Found the best thing to come out of California to merry old England in an age and it's Savannah Gardner. Savannah's outlaw honky tonkin' country music has captured the hearts and minds of Londoners and beyond. There's pure unadulterated joy in seeing Savannah live on stage, time stops, energy positively crackles from the microphone as you hear voice sing songs like 'Heaven is a Feeling'. A stunning song full of evocative lyrics that grabs you and never lets you go. Go listen to her 2024 album 'Recovering Good Girl' for an album full of solid gold country music. An accomplished live performer Savannah will be playing across many clubs and festivals across the year. Make sure you check out the dates on her website. PLAY. LISTEN. ENJOY

Londoner Sarah Wilkes talks about winning the Women's World Curling Championship for the second year in a row.

Mat is joined again by legendary London battle guide, Steve Hunnisett, to explore more sites that tell the story of London's wartime past.Sites visited:- Salvation Army HQ, where an amateur photographer captured iconic images of London in flames during the Blitz- The Royal Exchange, where a direct bomb hit created 'the largest crater in England'- Two extraordinary war memorials - one from the Napoleonic Wars and one from the First World War - that tell the stories of Londoners who volunteered to fight- An unassuming jewellery shop, where a hero lost his life trying to foil a robbery in the dark days of WW2- The Merchant Navy Memorial, that remembers more than 35,000 sailors lost during both world wars, and tells the story of some of the most remarkable ships to ever take to sea.Watch the video version here: https://youtu.be/ZmtMluJtB74?si=3tH0bepMXPvGwSO1To book a tour of London's wartime sites with Steve, visit https://www.blitzwalkers.co.uk/Presenter: Mat McLachlanGuest: Steve HunnisettProducer: Jess StebnickiJoin one of our battlefield tours and walk in the footsteps of the Anzacs! Visit https://battlefields.com.au/ for more information.Find out everything Mat is doing with books, tours and media at https://linktr.ee/matmclachlanFor more great history content, visit www.LivingHistoryTV.com, or subscribe to our YouTube channel at https://www.youtube.com/c/LivingHistoryTV Hosted on Acast. See acast.com/privacy for more information.

Welcome back to Mise en Place where this week we take a deep dive into the mind of Ramael Scully, the powerhouse behind London's critically acclaimed Scully. From his early days grafting in Australian kitchens to learning from Ottolenghi and carving out his own culinary empire, Scully's journey is packed with inspiration, grit, and game-changing ideas. Expect no-nonsense insights, jaw-dropping behind-the-scenes stories, and a masterclass in creative cooking.He opens up about what it's really like to be mentored by one of the world's most influential chefs and how those early lessons shaped his fearless approach to food. His Malaysian-Australian heritage and obsession with street food have fuelled a completely unique cooking style, blending bold, unexpected flavours into dishes that Londoners can't get enough of. But running a top restaurant isn't just about the food—it's about survival. Scully reveals the brutal highs and lows of the industry, from impossible customers to the relentless pursuit of perfection.And then there's the future of food. Fermentation, zero waste, multi-layered flavour explosions—Scully is rewriting the rulebook on how we cook, eat, and think about ingredients. For food lovers, ambitious chefs, and anyone obsessed with the art of eating well, this episode is an absolute must-listen. Download now and get stuck in. Hosted on Acast. See acast.com/privacy for more information.

Imprisonment was rarely used as punishment in Britain before 1800. The criminal justice system was based on terror and deterrence, sentencing convicts to the gallows at home and transportation overseas, with prisons serving primarily as holding spaces for the accused until the case against them was resolved. A major shift began in the late eighteenth century when imprisonment became an end in itself: a means to reform as well as to discipline criminal offenders. To Detain or to Punish: Magistrates and the Making of the London Prison System, 1750–1840 (McGill-Queen's University Press, 2025) by Dr. Kiran Mehta revisits this revolutionary moment as it played out in the metropolis of London. Dr. Mehta charts how Londoners, through their interactions with police, magistrates, and judges, became prisoners, and then follows them into the prison, revealing how these institutions were managed and experienced. Local authorities' increased use of imprisonment, for punishment as well as for detention, sparked the wholesale reconstruction and redesign of London's prison estate. It also spurred the consolidation of the modern notion that prisoners who had not yet been convicted of a crime, or who had not been sentenced to imprisonment, should be held separately from and treated differently to those incarcerated for punishment. Most notably, the requirement to labour became a distinguishing feature of punitive confinement. Challenging traditional ideas about who and what prisons were for and how they operated, To Detain or to Punish offers a radical reappraisal of London's prison system between 1750 and 1840.  This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Imprisonment was rarely used as punishment in Britain before 1800. The criminal justice system was based on terror and deterrence, sentencing convicts to the gallows at home and transportation overseas, with prisons serving primarily as holding spaces for the accused until the case against them was resolved. A major shift began in the late eighteenth century when imprisonment became an end in itself: a means to reform as well as to discipline criminal offenders. To Detain or to Punish: Magistrates and the Making of the London Prison System, 1750–1840 (McGill-Queen's University Press, 2025) by Dr. Kiran Mehta revisits this revolutionary moment as it played out in the metropolis of London. Dr. Mehta charts how Londoners, through their interactions with police, magistrates, and judges, became prisoners, and then follows them into the prison, revealing how these institutions were managed and experienced. Local authorities' increased use of imprisonment, for punishment as well as for detention, sparked the wholesale reconstruction and redesign of London's prison estate. It also spurred the consolidation of the modern notion that prisoners who had not yet been convicted of a crime, or who had not been sentenced to imprisonment, should be held separately from and treated differently to those incarcerated for punishment. Most notably, the requirement to labour became a distinguishing feature of punitive confinement. Challenging traditional ideas about who and what prisons were for and how they operated, To Detain or to Punish offers a radical reappraisal of London's prison system between 1750 and 1840.  This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Imprisonment was rarely used as punishment in Britain before 1800. The criminal justice system was based on terror and deterrence, sentencing convicts to the gallows at home and transportation overseas, with prisons serving primarily as holding spaces for the accused until the case against them was resolved. A major shift began in the late eighteenth century when imprisonment became an end in itself: a means to reform as well as to discipline criminal offenders. To Detain or to Punish: Magistrates and the Making of the London Prison System, 1750–1840 (McGill-Queen's University Press, 2025) by Dr. Kiran Mehta revisits this revolutionary moment as it played out in the metropolis of London. Dr. Mehta charts how Londoners, through their interactions with police, magistrates, and judges, became prisoners, and then follows them into the prison, revealing how these institutions were managed and experienced. Local authorities' increased use of imprisonment, for punishment as well as for detention, sparked the wholesale reconstruction and redesign of London's prison estate. It also spurred the consolidation of the modern notion that prisoners who had not yet been convicted of a crime, or who had not been sentenced to imprisonment, should be held separately from and treated differently to those incarcerated for punishment. Most notably, the requirement to labour became a distinguishing feature of punitive confinement. Challenging traditional ideas about who and what prisons were for and how they operated, To Detain or to Punish offers a radical reappraisal of London's prison system between 1750 and 1840.  This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Imprisonment was rarely used as punishment in Britain before 1800. The criminal justice system was based on terror and deterrence, sentencing convicts to the gallows at home and transportation overseas, with prisons serving primarily as holding spaces for the accused until the case against them was resolved. A major shift began in the late eighteenth century when imprisonment became an end in itself: a means to reform as well as to discipline criminal offenders. To Detain or to Punish: Magistrates and the Making of the London Prison System, 1750–1840 (McGill-Queen's University Press, 2025) by Dr. Kiran Mehta revisits this revolutionary moment as it played out in the metropolis of London. Dr. Mehta charts how Londoners, through their interactions with police, magistrates, and judges, became prisoners, and then follows them into the prison, revealing how these institutions were managed and experienced. Local authorities' increased use of imprisonment, for punishment as well as for detention, sparked the wholesale reconstruction and redesign of London's prison estate. It also spurred the consolidation of the modern notion that prisoners who had not yet been convicted of a crime, or who had not been sentenced to imprisonment, should be held separately from and treated differently to those incarcerated for punishment. Most notably, the requirement to labour became a distinguishing feature of punitive confinement. Challenging traditional ideas about who and what prisons were for and how they operated, To Detain or to Punish offers a radical reappraisal of London's prison system between 1750 and 1840.  This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Negotiating With Isabella.Based on a post by Ostrich Mack. Listen to the ► Podcast at Steamy Stories.Sex sells: Isabella's New Skills.Isabella Cobelli admired her reflection in the mirror. As you could guess from the name, Isabella had Italian roots.Her father emigrated from Italy in the eighties and met and married Isabella's English mother.Isabella was an only child and after her father passed away suddenly when she was 14, she became very close to her mum.Now 23 years old and graduated with an honors degree in marketing, she had matured into a beautiful young woman. Isabella had Raven-black straight hair which hung all the way down to the small of her back. She often wore it in a French plait which meant her pretty face was plain to see.Isabella had light olive skin and funnily enough an sprinkling of freckles across her nose. Her hazel colored eyes were almond shaped and her eyebrows were thicker than was considered classical beauty. Her lips looked eminently kissable.Today Isabella had chosen a slightly daring red lipstick to emphasize the shape of her pretty mouth.Her outfit was business-like and sexy at the same time. Thigh high stockings under a grey pencil skirt, topped by a matching Bolero jacket over a semi sheer impeccable white blouse. Isabella liked to dress in pretty underwear and had chosen a half-cup lace bra and matching thong. To complete the look, she had chosen two inch heels in black to give her a little more height than her 1 meter 65.So, why all this bother to get all dressed up? After graduating Isabella tried to break into a marketing job. As the economy was in a major dip, jobs in marketing were few and far between. In fact marketing experts were all looking over their shoulders, hoping not to get their exit cards.Isabella got a job eventually in sales. Not her strongest point and she hated when people assumed that sales and marketing were one and the same. ECO-Hygiene was an up and coming supplier of Eco-friendly products for industrial use.After two months there Isabella's sales figures were under target, and she was concerned that she might just get her marching orders if she didn't at least hit her goals. As a newcomer she was assigned an area in which her predecessor had failed to drum up enough business. This geographically difficult area lay half in the urban sprawl of London and half in the leafy suburbs of Sussex. Isabella was struggling and desperate to get some decent sales under her belt. Thus, what a relief it was when, two weeks ago, all of the sales reps were invited for a weekend sales seminar in one London's prestigious hotels. All of this on their free time of course.After checking in on Friday evening, Isabella decided to have one glass of wine at the bar to see if there was any male talent attending the seminar. For some reason, despite her beauty, she didn't seem to be able to hold down a relationship for long. Men of her own age bored her. They were mostly full of themselves and only wanted to talk about their amazing feats. Isabella had missed a father for her formative years and found herself graduating towards more mature men. Problem there was that most of them were married, or un-marriable, or just plain creepy.As she sat at the bar observing the melee of sales reps loudly proclaiming their victories, Isabella was shocked when a woman sat next to her and offered her a drink."Kate", the woman said."Excuse me?" replied Isabella."Kate Connors. Senior sales director for South East" came the reply."Oh, nice to meet you." Said Isabella. "Isabella Cobrelli, My friends call me Izzy" she replied offering her hand to Kate who shook it firmly."So what do you think? Any talent in here tonight?" asked Kate.Isabella blushed."Aw come on", said Kate. "I know the drill. Been here many times and had my share of dalliances""Well" said Isabella "Up until now, not much interesting to see here. Just lot of guys full of themselves holding a pissing contest."Kate laughed out loud. "I like it" she said. "You call it as it is young lady.""What in god's name brings a beautiful woman like you to a sales conference for Industrial Hygiene products?""Well, it wasn't my first choice, and it may not be sexy, but it pays the rent." Answered Isabella."It should damn well do more than just pay the rent." Answered Kate. "What are your sales figures like?" she asked.Isabella blushed once more. "It's a struggle." She answered. "I haven't been able to score any big accounts yet and I am worried I might not hit the target.""Well maybe I can help you." Replied Kate. "After all I didn't get my position by not meeting my sales targets.""Tell me your tactics." Kate asked."Well, I like to dress in a business attire so that I look serious about the product. I make sure I know all of the specs of the particular products that I want to sell on the day, so I am well prepared for the pitch. But somehow it just seems to fall flat when I am there.""What is business attire?" Kate asked."Trouser suit with a nice blouse. Low heels for practicality." Isabella replied."Humph," snorted Kate. "No wonder that the presentations fall flat. You need to make it personal. Sure, you should be all business, but you need to be sexy too. Let me guess, most of the clients are 45 plus males bored out of their minds. You need to give their day a boost. Bring something that gets their attention, and not just the product. Don't forget there are a so many industrial hygiene products on the market, and they all do the same thing. You need to make the men want to see YOU again."Isabella listened carefully to this charismatic woman, totally in awe of her self-confidence. She quietly wished she could be like her.Kate continued. "I have done all sorts to get my sales figures up, including entertaining the clients in the broadest possible sense. These men have a boring married vanilla life. They crave excitement and attention. While their wives are away at the Rotary Club organizing charity things, the men are sitting home bored out of their skulls. Work is the same thing day after day until YOU show up. Not in a pantsuit and a blouse laced up to the neck, but in something which gives their fantasy food for thought. The women too. I have also put myself out there and entertained women."Isabella was shocked and blushed intensely. Kate was basically saying she should whore herself out to get the sale."Women too?" she asked shyly."Don't knock it till you've tried it." Replied Kate. "I have had amazing encounters with women too. And though I am not gay, I do enjoy a dally with the softer sex. Haven't you ever experimented in college?"Isabella felt like she was turning purple. "No. Never." She replied."Well play your cards right and tonight might be the first night." Kate replied.Isabella was shocked and turned on at the same time.What if she could seduce her regional sales manager? She thought. That might go some way to keeping her job.Kate signaled the bartender. "A bottle of champagne." She ordered. The bartender nodded and made a gesture toward a booth on the other side of the bar.Kate wasted no time and took Isabella's hand in hers, dragging her across the bar.The sat next to each other, watching the show.Kate turned to Isabella. "Drink up. The show has just begun. Just watch how stupid it gets."Isabella took a sip of her glass and sat back to observe. "Idiots," she thought. "Tomorrow they will be too hungover to follow the seminar."The buzz from the champagne made Isabella relax and she began to fire more questions at Kate."What did you do with all those male clients then?" she asked."Everything." Replied Kate. "From flirting to blow jobs, from blow jobs to sex, to threesomes, to gang bangs. Just as long as I got my sales. My commissions were huge, I bought my house and car for cash with everything I earned. Men are stupid. They think with their dick, and once that is engaged then they will sign anything.""And the women then?" asked Isabella."Ah that is a different story." Kate replied. "That needs a lot more subtlety.""I can show you if you want." Kate offered.Isabella though about it for some minutes, whilst watching the meat market in front of them."Okay." She said. "Show me."Kate turned to her in shock. "Really?" She asked."Yes really." Isabella replied. "I have nothing to lose and everything to gain from your experience. And besides, for some reason the thought of it makes me horny.""Right." Said Kate. "Let's take this upstairs."Kate took Isabella by the hand and lead her to the lifts. They stepped in together and Kate pushed the button for the top floor. As soon as the lift doors closed, she took Isabella in her arms and kissed her gently on the lips. Isabella swooned from the alcohol and the excitement of this new adventure. It didn't take long before she responded to Kate, kissing her passionately back, her tongue exploring Kate's mouth.Kate moaned with pleasure. "Umm; Hmm. You're good at this. Sure you haven't tried this before?"Isabella grinned and said. "Definitely not. Good catholic upbringing don't you know."They arrived at Kate's floor and exited the lift. Kate's suite was just a few meters away, and when they got there Kate fumbled to get the key to work. Isabella took the key from her gently and held it against the lock. She was amazingly calm, determined to enjoy the ride wherever that might take her.Laughing, both Kate and Isabella fell through the door into the suite. Isabella couldn't help but be impressed. "So, this is what a Senior regional manager gets," she thought. "Not bad at all."There was a bottle of champagne on ice on the hall table and Kate proceeded to open it.She poured two glasses and passed one to Isabella. "Cheers Izzy." She said, raising her glass."Cheers." Isabella replied.Kate took a draught and put her glass on the table. She took Isabella in her arms and kissed her passionately on the lips. Isabella responded with her tongue and soon they were locked in a passionate embrace.Kate opened the buttons on Isabella's blouse one by one until it was completely open.She pushed the blouse back over Isabella's shoulders leaving er bra exposed. Kate bent forward and kissed Isabella's tits through the bra. Isabella held her breath, not knowing how she would react.She was surprised that it really turned her on to have all this attention to her tits. She felt her panties getting moist.Isabella decided to take some initiative herself, and opened the buttons on Kate's blouse. Kate groaned in anticipation. Isabella rubbed her thumb over Kate's right nipple and then over the left. Kate groaned even harder. Isabella moved her finger under the fabric of Kate's bra and pinched gently with her thumb and forefinger on Kate's nipples.Kate moved her arms around Isabella's back and unclasped her bra, freeing her 32c tits. Isabella's nipples were hard as bullets. Kate couldn't resist and lowered her mouth on first one and then the other nipple.Isabella felt a shockwave go through her whole body. Her juices were now flowing freely and she felt her panties get dripping wet. Not to be outdone she released Kate's 36 c tits from their restraint and copied Kate's sucking and licking.Kate almost crumpled at the knees. For a first timer Isabella sure learned quickly."Wait." She said. "Let's take this to the bed.""Yes please." said Isabella.They half stumbled to the bed, taking their skirts off in the process.Isabella stood before Kate with only her panties and her thigh high stocking still left on. Her cunt was on fire and leaking like a fire hydrant. Her juices were running down her thighs.Kate took a moment to admire this beautiful woman in front of her before slowly rolling her panties down her thighs, over the stockings and down to the floor.Isabella stepped out of her panties. She lay down on the bed, her hand demurely over her cunt.Kate knelt down at the side of the bed and removed Isabella's hand from her cunt. Kate sat admiring the neatly trimmed cunt in front of her, all the while sniffing the scent of Isabella's sex.Isabella was panting with desire. Her cunt on fire, her juices flowing freely and her nipples hard and sore. The anticipation of what was about to happen was excruciating.And then. Kate leaned forward and drew her tongue slowly from the bottom of Isabella's lips. Slowly licking and penetrating Isabella's sex.Isabella held her breath. Her heart was beating at 200 beats per minute, or so she thought.Kate was gentle. Each time drawing her tongue from under to above. Gently she penetrated Isabella with first one, and the two fingers. Isabella gasped.Kate moved once more upwards, and this time stopped at Isabella's clit. She gently licked at Isabella's love bud taking it gently between her lips and massaging it with her tongue.Inside Isabella something exploded. Her brain seemed to short circuit and her legs began to tremble uncontrollably. Her hands grabbed the back of Kate's head and pushed her harder into her cunt. Her orgasm was coming and there was nothing going to stop it.A tsunami of electric shocks shot through Isabella's body. There was no more control. Her muscles and nerves exploded in ecstasy and her juices simply spurted out of her cunt. Isabella screamed her orgasm out as hard as she could. It was an animalistic sound which she had never heard before.

Imprisonment was rarely used as punishment in Britain before 1800. The criminal justice system was based on terror and deterrence, sentencing convicts to the gallows at home and transportation overseas, with prisons serving primarily as holding spaces for the accused until the case against them was resolved. A major shift began in the late eighteenth century when imprisonment became an end in itself: a means to reform as well as to discipline criminal offenders. To Detain or to Punish: Magistrates and the Making of the London Prison System, 1750–1840 (McGill-Queen's University Press, 2025) by Dr. Kiran Mehta revisits this revolutionary moment as it played out in the metropolis of London. Dr. Mehta charts how Londoners, through their interactions with police, magistrates, and judges, became prisoners, and then follows them into the prison, revealing how these institutions were managed and experienced. Local authorities' increased use of imprisonment, for punishment as well as for detention, sparked the wholesale reconstruction and redesign of London's prison estate. It also spurred the consolidation of the modern notion that prisoners who had not yet been convicted of a crime, or who had not been sentenced to imprisonment, should be held separately from and treated differently to those incarcerated for punishment. Most notably, the requirement to labour became a distinguishing feature of punitive confinement. Challenging traditional ideas about who and what prisons were for and how they operated, To Detain or to Punish offers a radical reappraisal of London's prison system between 1750 and 1840.  This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Imprisonment was rarely used as punishment in Britain before 1800. The criminal justice system was based on terror and deterrence, sentencing convicts to the gallows at home and transportation overseas, with prisons serving primarily as holding spaces for the accused until the case against them was resolved. A major shift began in the late eighteenth century when imprisonment became an end in itself: a means to reform as well as to discipline criminal offenders. To Detain or to Punish: Magistrates and the Making of the London Prison System, 1750–1840 (McGill-Queen's University Press, 2025) by Dr. Kiran Mehta revisits this revolutionary moment as it played out in the metropolis of London. Dr. Mehta charts how Londoners, through their interactions with police, magistrates, and judges, became prisoners, and then follows them into the prison, revealing how these institutions were managed and experienced. Local authorities' increased use of imprisonment, for punishment as well as for detention, sparked the wholesale reconstruction and redesign of London's prison estate. It also spurred the consolidation of the modern notion that prisoners who had not yet been convicted of a crime, or who had not been sentenced to imprisonment, should be held separately from and treated differently to those incarcerated for punishment. Most notably, the requirement to labour became a distinguishing feature of punitive confinement. Challenging traditional ideas about who and what prisons were for and how they operated, To Detain or to Punish offers a radical reappraisal of London's prison system between 1750 and 1840.  This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's episodes on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day

Negotiating With Isabella.Based on a post by Ostrich Mack. Listen to the ► Podcast at Steamy Stories.Sex sells: Isabella's New Skills.Isabella Cobelli admired her reflection in the mirror. As you could guess from the name, Isabella had Italian roots.Her father emigrated from Italy in the eighties and met and married Isabella's English mother.Isabella was an only child and after her father passed away suddenly when she was 14, she became very close to her mum.Now 23 years old and graduated with an honors degree in marketing, she had matured into a beautiful young woman. Isabella had Raven-black straight hair which hung all the way down to the small of her back. She often wore it in a French plait which meant her pretty face was plain to see.Isabella had light olive skin and funnily enough an sprinkling of freckles across her nose. Her hazel colored eyes were almond shaped and her eyebrows were thicker than was considered classical beauty. Her lips looked eminently kissable.Today Isabella had chosen a slightly daring red lipstick to emphasize the shape of her pretty mouth.Her outfit was business-like and sexy at the same time. Thigh high stockings under a grey pencil skirt, topped by a matching Bolero jacket over a semi sheer impeccable white blouse. Isabella liked to dress in pretty underwear and had chosen a half-cup lace bra and matching thong. To complete the look, she had chosen two inch heels in black to give her a little more height than her 1 meter 65.So, why all this bother to get all dressed up? After graduating Isabella tried to break into a marketing job. As the economy was in a major dip, jobs in marketing were few and far between. In fact marketing experts were all looking over their shoulders, hoping not to get their exit cards.Isabella got a job eventually in sales. Not her strongest point and she hated when people assumed that sales and marketing were one and the same. ECO-Hygiene was an up and coming supplier of Eco-friendly products for industrial use.After two months there Isabella's sales figures were under target, and she was concerned that she might just get her marching orders if she didn't at least hit her goals. As a newcomer she was assigned an area in which her predecessor had failed to drum up enough business. This geographically difficult area lay half in the urban sprawl of London and half in the leafy suburbs of Sussex. Isabella was struggling and desperate to get some decent sales under her belt. Thus, what a relief it was when, two weeks ago, all of the sales reps were invited for a weekend sales seminar in one London's prestigious hotels. All of this on their free time of course.After checking in on Friday evening, Isabella decided to have one glass of wine at the bar to see if there was any male talent attending the seminar. For some reason, despite her beauty, she didn't seem to be able to hold down a relationship for long. Men of her own age bored her. They were mostly full of themselves and only wanted to talk about their amazing feats. Isabella had missed a father for her formative years and found herself graduating towards more mature men. Problem there was that most of them were married, or un-marriable, or just plain creepy.As she sat at the bar observing the melee of sales reps loudly proclaiming their victories, Isabella was shocked when a woman sat next to her and offered her a drink."Kate", the woman said."Excuse me?" replied Isabella."Kate Connors. Senior sales director for South East" came the reply."Oh, nice to meet you." Said Isabella. "Isabella Cobrelli, My friends call me Izzy" she replied offering her hand to Kate who shook it firmly."So what do you think? Any talent in here tonight?" asked Kate.Isabella blushed."Aw come on", said Kate. "I know the drill. Been here many times and had my share of dalliances""Well" said Isabella "Up until now, not much interesting to see here. Just lot of guys full of themselves holding a pissing contest."Kate laughed out loud. "I like it" she said. "You call it as it is young lady.""What in god's name brings a beautiful woman like you to a sales conference for Industrial Hygiene products?""Well, it wasn't my first choice, and it may not be sexy, but it pays the rent." Answered Isabella."It should damn well do more than just pay the rent." Answered Kate. "What are your sales figures like?" she asked.Isabella blushed once more. "It's a struggle." She answered. "I haven't been able to score any big accounts yet and I am worried I might not hit the target.""Well maybe I can help you." Replied Kate. "After all I didn't get my position by not meeting my sales targets.""Tell me your tactics." Kate asked."Well, I like to dress in a business attire so that I look serious about the product. I make sure I know all of the specs of the particular products that I want to sell on the day, so I am well prepared for the pitch. But somehow it just seems to fall flat when I am there.""What is business attire?" Kate asked."Trouser suit with a nice blouse. Low heels for practicality." Isabella replied."Humph," snorted Kate. "No wonder that the presentations fall flat. You need to make it personal. Sure, you should be all business, but you need to be sexy too. Let me guess, most of the clients are 45 plus males bored out of their minds. You need to give their day a boost. Bring something that gets their attention, and not just the product. Don't forget there are a so many industrial hygiene products on the market, and they all do the same thing. You need to make the men want to see YOU again."Isabella listened carefully to this charismatic woman, totally in awe of her self-confidence. She quietly wished she could be like her.Kate continued. "I have done all sorts to get my sales figures up, including entertaining the clients in the broadest possible sense. These men have a boring married vanilla life. They crave excitement and attention. While their wives are away at the Rotary Club organizing charity things, the men are sitting home bored out of their skulls. Work is the same thing day after day until YOU show up. Not in a pantsuit and a blouse laced up to the neck, but in something which gives their fantasy food for thought. The women too. I have also put myself out there and entertained women."Isabella was shocked and blushed intensely. Kate was basically saying she should whore herself out to get the sale."Women too?" she asked shyly."Don't knock it till you've tried it." Replied Kate. "I have had amazing encounters with women too. And though I am not gay, I do enjoy a dally with the softer sex. Haven't you ever experimented in college?"Isabella felt like she was turning purple. "No. Never." She replied."Well play your cards right and tonight might be the first night." Kate replied.Isabella was shocked and turned on at the same time.What if she could seduce her regional sales manager? She thought. That might go some way to keeping her job.Kate signaled the bartender. "A bottle of champagne." She ordered. The bartender nodded and made a gesture toward a booth on the other side of the bar.Kate wasted no time and took Isabella's hand in hers, dragging her across the bar.The sat next to each other, watching the show.Kate turned to Isabella. "Drink up. The show has just begun. Just watch how stupid it gets."Isabella took a sip of her glass and sat back to observe. "Idiots," she thought. "Tomorrow they will be too hungover to follow the seminar."The buzz from the champagne made Isabella relax and she began to fire more questions at Kate."What did you do with all those male clients then?" she asked."Everything." Replied Kate. "From flirting to blow jobs, from blow jobs to sex, to threesomes, to gang bangs. Just as long as I got my sales. My commissions were huge, I bought my house and car for cash with everything I earned. Men are stupid. They think with their dick, and once that is engaged then they will sign anything.""And the women then?" asked Isabella."Ah that is a different story." Kate replied. "That needs a lot more subtlety.""I can show you if you want." Kate offered.Isabella though about it for some minutes, whilst watching the meat market in front of them."Okay." She said. "Show me."Kate turned to her in shock. "Really?" She asked."Yes really." Isabella replied. "I have nothing to lose and everything to gain from your experience. And besides, for some reason the thought of it makes me horny.""Right." Said Kate. "Let's take this upstairs."Kate took Isabella by the hand and lead her to the lifts. They stepped in together and Kate pushed the button for the top floor. As soon as the lift doors closed, she took Isabella in her arms and kissed her gently on the lips. Isabella swooned from the alcohol and the excitement of this new adventure. It didn't take long before she responded to Kate, kissing her passionately back, her tongue exploring Kate's mouth.Kate moaned with pleasure. "Umm; Hmm. You're good at this. Sure you haven't tried this before?"Isabella grinned and said. "Definitely not. Good catholic upbringing don't you know."They arrived at Kate's floor and exited the lift. Kate's suite was just a few meters away, and when they got there Kate fumbled to get the key to work. Isabella took the key from her gently and held it against the lock. She was amazingly calm, determined to enjoy the ride wherever that might take her.Laughing, both Kate and Isabella fell through the door into the suite. Isabella couldn't help but be impressed. "So, this is what a Senior regional manager gets," she thought. "Not bad at all."There was a bottle of champagne on ice on the hall table and Kate proceeded to open it.She poured two glasses and passed one to Isabella. "Cheers Izzy." She said, raising her glass."Cheers." Isabella replied.Kate took a draught and put her glass on the table. She took Isabella in her arms and kissed her passionately on the lips. Isabella responded with her tongue and soon they were locked in a passionate embrace.Kate opened the buttons on Isabella's blouse one by one until it was completely open.She pushed the blouse back over Isabella's shoulders leaving er bra exposed. Kate bent forward and kissed Isabella's tits through the bra. Isabella held her breath, not knowing how she would react.She was surprised that it really turned her on to have all this attention to her tits. She felt her panties getting moist.Isabella decided to take some initiative herself, and opened the buttons on Kate's blouse. Kate groaned in anticipation. Isabella rubbed her thumb over Kate's right nipple and then over the left. Kate groaned even harder. Isabella moved her finger under the fabric of Kate's bra and pinched gently with her thumb and forefinger on Kate's nipples.Kate moved her arms around Isabella's back and unclasped her bra, freeing her 32c tits. Isabella's nipples were hard as bullets. Kate couldn't resist and lowered her mouth on first one and then the other nipple.Isabella felt a shockwave go through her whole body. Her juices were now flowing freely and she felt her panties get dripping wet. Not to be outdone she released Kate's 36 c tits from their restraint and copied Kate's sucking and licking.Kate almost crumpled at the knees. For a first timer Isabella sure learned quickly."Wait." She said. "Let's take this to the bed.""Yes please." said Isabella.They half stumbled to the bed, taking their skirts off in the process.Isabella stood before Kate with only her panties and her thigh high stocking still left on. Her cunt was on fire and leaking like a fire hydrant. Her juices were running down her thighs.Kate took a moment to admire this beautiful woman in front of her before slowly rolling her panties down her thighs, over the stockings and down to the floor.Isabella stepped out of her panties. She lay down on the bed, her hand demurely over her cunt.Kate knelt down at the side of the bed and removed Isabella's hand from her cunt. Kate sat admiring the neatly trimmed cunt in front of her, all the while sniffing the scent of Isabella's sex.Isabella was panting with desire. Her cunt on fire, her juices flowing freely and her nipples hard and sore. The anticipation of what was about to happen was excruciating.And then. Kate leaned forward and drew her tongue slowly from the bottom of Isabella's lips. Slowly licking and penetrating Isabella's sex.Isabella held her breath. Her heart was beating at 200 beats per minute, or so she thought.Kate was gentle. Each time drawing her tongue from under to above. Gently she penetrated Isabella with first one, and the two fingers. Isabella gasped.Kate moved once more upwards, and this time stopped at Isabella's clit. She gently licked at Isabella's love bud taking it gently between her lips and massaging it with her tongue.Inside Isabella something exploded. Her brain seemed to short circuit and her legs began to tremble uncontrollably. Her hands grabbed the back of Kate's head and pushed her harder into her cunt. Her orgasm was coming and there was nothing going to stop it.A tsunami of electric shocks shot through Isabella's body. There was no more control. Her muscles and nerves exploded in ecstasy and her juices simply spurted out of her cunt. Isabella screamed her orgasm out as hard as she could. It was an animalistic sound which she had never heard before.

This week, Jay Jay again goes Beyond the Music to welcome renowned author Craig Taylor onto the podcast. Craig is a Canadian journalist and playwright who was born in Edmonton and grew up in Lantzville. He moved to London in 2000, to immerse himself in the city for his book Londoners, and then to New York in 2014. Given their deep rooted connection to New York through music & literature, Jay Jay & Craig have a lot to connect over to say the least. Tune in to hear all about their views & insights surrounding the city that they both hold very dear; getting into discussing why New York has remained such an essential hub for artists over the years. Hear all about Craig's immersive processes that he has lived through when writing his novels.Don't miss this conversation, only on The Jay Jay French Connection: Beyond the Music Produced & Edited by Matthew Mallinger See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's been 12 weeks since President Trump announced the formation of DOGE, the so-called department of Government efficiency. We fact-check various claims connected with the drive to route out inefficiency. Listeners asked us to investigate the claim that 1 in 12 Londoners is an illegal immigrant. We look into the claim that imported New Zealand apples have a smaller carbon footprint than British grown apples. Plus - did VAT on private schools really boost the rate of inflation, or was that just a media concoction?Presenter: Tim Harford Series Producer: Charlotte McDonald Producers: Lizzy McNeill, Nathan Gower and Josh McMinn Sound Mix: Rod Farquhar Editor: Richard Vadon Production Co-Ordinator: Brenda Brown

The architect Takero Shimazaki was born in Tokyo but is a longtime Londoner. He has designed many kinds of buildings – including the London home of the Royal Academy of Dance. It's a warm, open, lovingly designed space and last year, the Royal Institute of British Architects gave it both an RIBA National Award and RIBA London Award, calling it “an uplifting, welcoming and inclusively safe place.” So how do you take a heritage organisation like the RAD and build it a 21st century home? An architect can shape the way bodies move through space, just like a choreographer – so we ask Takero why dance matters to him.Takero Shimazaki is an architect and a director of Takero Shimazaki Architects, t-sa. He studied at University of Wales, Cardiff and The Bartlett, UCL. He has worked for Richard Rogers Partnership, Itsuko Hasegawa and Alison and Peter Smithson, and is a lecturer in Architecture at the School of Art, Architecture and Design at London Metropolitan University.LINKShttps://www.t-sa.co.uk/https://www.ribaj.com/buildings/riba-awards-2024-london-south-west-royal-academy-of-dance-takero-shimazaki-architects-education-wandsworthhttps://www.royalacademyofdance.org/ Hosted on Acast. See acast.com/privacy for more information.

Prössl, Christoph www.deutschlandfunk.de, Europa heute

On the Saturday March 8, 2025 edition of “The Richard Crouse Show” we'll meet Paul Sun-Hyung Lee. You know the Canadian Screen Award winner as family patriarch Appa on “Kim's Convenience,” and as Inspector Albert Choi, the new head of Station House No 4, on “Murdoch Mysteries” and as Captain Captain Carson Teva on the Star War series “The Mandalorian,” “The Book of Boba Fett” and “Ahsoka.” Today we'll talk about all that and his new film “Night of the Zoopocalypse,” a new animated adventure now playing in theatres, a space virus turns the animals at Colepepper Zoo into gummi-bear looking zombies. As an animal apocalypse develops, a timber wolf and a mountain lion search for a cure and a way to stop Bunny Zero, leader of the mutants. Then, we'll meet British actor Lucien Laviscount, star of “Emily in Paris” and the new rom com “This Time Next Year.” It's the story of two Londoners, Quinn and Minnie who meet by chance and realize they were born in the same hospital on the same day, a minute apart, but their lives have gone in different directions since that day

London Bombings: The 7th and 21st of July AttacksIn this episode of Crime Time Inc., the hosts take a deep dive into two significant events that rocked London: the 7th of July bombings and the subsequent 21st of July bombings in 2005. The discussion begins with an analysis of the differences between the two attacks, noting that while the 7/7 bombings resulted in mass casualties, the 21/7 bombs failed to detonate. This failure provides a unique opportunity to investigate the construction of the devices and the intentions behind them.The hosts delve into the specifics of the explosives, which were homemade using everyday materials like chapati flour and concentrated hydrogen peroxide, with a detonator made from TATP, a powerful explosive. They explore the intriguing question of whether the bombs on the 21st were intentionally designed not to detonate, a claim made by one of the convicted bombers, Hussein Osman, who argued that his motive was to protest the Iraq war rather than cause casualties.The episode also introduces Manfo Kwaku Asidu, another figure from the 21st of July bombings who testified against his co-conspirators, shedding light on the group's dynamics and motives. The hosts discuss the psychological impact of violent imagery used as propaganda to radicalize individuals and the complexities of human motivation behind such terror acts.Additionally, the podcast looks at the response of the emergency services and the resilient spirit of Londoners in the aftermath of the attacks. Issues such as interoperability of communication systems during emergencies and the overall preparedness of agencies are discussed. The hosts highlight the acts of heroism and altruism displayed by ordinary citizens, emphasizing the strength of collective resilience in the face of terror.The episode concludes with reflections on the lasting impact of these events on society, civil liberties, and national security, leaving listeners with thought-provoking questions about the nature of terrorism and the human capacity for resilience and empathy.00:00 Introduction to the London Bombings00:54 The Failed 21st of July Bombings01:13 Bomb Construction and Intent02:45 Profiles of the Bombers05:33 Emergency Response and Resilience07:11 Psychological and Societal Impact08:07 Debating the Bombers' Intentions13:26 Final Thoughts and Reflections Hosted on Acast. See acast.com/privacy for more information.

In Zeiten, wo die Kunst Algorithmen und einer Streaming-Logik unterworfen wird, fällt die Eigenständigkeit dieses Londoner Singer Songwriters doppelt auf: Benjamin Clementine fasziniert ein breites Publikum mit melancholischer Stimmgewalt, poetischen Texten und stilübergreifender Musik. Auch der Karrierestart des Autodidakten ist ungewöhnlich: Als 20jähriger zieht Clementine mit gebrochenem Herzen nach Paris, wo er Texte schreibt, als Strassenmusiker arbeitet und einige Jahre in Obdachlosigkeit lebt. In der Métro wird er per Zufall entdeckt und an einen Produzenten vermittelt, mit dem er bis heute arbeitet. Der 190cm grosse Londoner mit ghanaischen Wurzeln spielt gerne in Anzügen und barfuss stehend am Piano und hat eine ganz eigene Art, mit seinem Publikum in Kontakt zu treten. Mit Nina Simone und Bill Withers wird der heute 36jährige verglichen; seiner Verpflichtung der Lyrik gegenüber wegen auch mit Leonard Cohen. Schon für sein Debut-Album gewinnt Clementine den renommierten Mercury Prize. Unterdessen ist er Vater von zwei kleinen Kindern und lebt mit seiner Partnerin in Kalifornien, wo er erste Erfahrungen als Schauspieler sammelt. Sein neues und viertes Album werde sein letztes musikalisches Werk sein, lässt er verlauten. Den Release allerdings hat Clementine nun gerade verschoben, da unterdessen neue wichtige Ideen aufgekommen seien. Die anstehende Tour, die ihn auch nach Zürich bringt, könnte seine letzte sein. Über die Eigenständigkeit von Benjamin Clementine und über seine künstlerische Vision diskutiert Annina Salis in der Jazz Collection mit der Zürcher Singer Songwriterin Andrina Bollinger. Die gespielten Titel Interpret:in: Titel (Album / Label) Benjamin Clementine: Cornerstone (EP Cornerstone / Behind the Scenes 2013) Benjamin Clementine: Adiós - St. Clementine on Tea and Croissants (At Least for Now / Barclay 2015) Benjamin Clementine: Phantom of Aleppoville (I Tell a Fly / Universal 2017) Gorillaz feat. Benjamin Clementine: Hallelujah Money (Humanz / Parlophone 2017) Benjamin Clementine: Difference - Residue (And I Have Been / Preserve Artists 2022) Benjamin Clementine: Toxicaliphobia (Sir Introvert and the Featherweight / Preserve Artists)

Welcome Back to TBOTA!Ben Fox is an actor and musician, known for Beauty and the Beast (2017), Pokémon: Detective Pikachu (2019) and Muppets Most Wanted (2014 ). Ben is a Londoner. Ben is a Spurs supporter. He has been an actor for nearly forty years (Jesus!). Based in south east London he shares his life with two cool people who is a big fan of; a 12 year old daughter called Ruby and Rosie his wife who started and runs the very successful “Foxtots” - a very hip preschool music group - for which Ben writes a lot of the. Brian is their Lurcher. Brian is a beautiful idiot. Discussed: David Bowie, Mondegreens, Waiting for Supple, East 15, odd jobs, director's cuts, Dr. Moreau, writing jokes for Queen Elizabeth I, fools, panto, game of thrones, oh and working with Ray Liotta, Danny Trejo, etcSupport this show:Become a patron and help me make this show. Bonus episodes every week: >> ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Robert Neumark Jones | creating podcasts and extra content | Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy me a coffee ☕⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://paypal.me/robertneumark⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Or support me through other ways:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bliss of the Abyss⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Give us a rating & review:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Write a review for Bliss of the Abyss ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Like and follow us on ⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠My Webpage:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Robert Neumark Jones | Actor | Voice Artist (robertnj.com)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠© Robert Neumark Jones

Sawicki, Peter www.deutschlandfunkkultur.de, Studio 9

My guest today is Dr. Amy Helen Bell, author of "Under Cover of Darkness: Murders in Blackout London". She shares accounts of murder, terror and tragedy experienced by Londoners during the blackout and the blitz in 1940s wartime Britain. More about the author here: https://amyhelenbell.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Patrick explores the significance of the sign of peace in the Catholic Mass and how it evolved over time. He also discusses the impact of technology on daily life and the novelty of screen-free gatherings. Plus, Patrick addresses ethical considerations surrounding vaccines and their implications for Catholics. Health and Human Services releases a statement confirming human life begins at conception (01:05) Londoners embrace $12 screen-free nights at offline club? (03:30) Marty - Why did the Angel say that John the Baptist shouldn't drink any strong drink? (12:12) Joann Fabrics, 80-Year-Old Crafts and Fabrics Retailer, Will Close All Stores (18:22) Osrick - When the Bible refers to Jesus’ brethren, they mention James. Who is this James and is he the same one mentioned in Galatians? (25:16) Sydney - The Glory Be prayer: What does it mean 'as it was in the beginning now and ever shall be world without end'? (34:25) Jillian - If there are aborted fetuses used in vaccines? Can Catholics get vaccinated? (36:17) Henry (email) - Is it acceptable and safe to participate in Tai Chi exercises? (43:50) Lisa (email) – Why and when was the Sign of Peace introduced? (45:28)

Fiona hits the streets in search of the sound of London. Or at least the sound of the bells of London. From the Westminster the the City and beyond, listening as the hours pass by and the years drop away. Listening to the echoes of sounds that Londoners heard 300 years ago. What's a carillon? How long does it take to ring a peal? How heavy? And can we start making them here again please. Of course there's Big Ben, and Great Tom, and Dick gets a mention, can anyone find a Harry? Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Anderson Shelter, the pop-up sheds distributed to millions of Londoners during the Blitz was first erected on February 25th, 1939 - in the garden of Mrs. Spong, in Carlsbad Street, Islington. Devised to protect civilians from Nazi air raids, and handed out free to those who earned under £5 per week, the shelters were dug four metres into the ground and covered with earth, provided cramped but potentially life-saving cover for families during bombings. In this episode, The Retrospectors reveal why, nonetheless, millions of Londoners sought refuge in Underground stations; discover the creative external decorations proud homeowners adorned to their shelters; and consider how such terrifying experiences transmuted into fond memories for so many survivors… Further Reading: ‘How to construct an Anderson Shelter' (The National Archives): https://www.nationalarchives.gov.uk/education/resources/home-front-1939-1945-part-one/how-to-construct-an-anderson-shelter/ ‘How Britain's abandoned Anderson shelters are being brought back to life' (The Guardian, 2018): https://www.theguardian.com/world/2018/aug/21/how-britains-abandoned-anderson-shelters-are-being-brought-back-to-life ‘Your Anderson Shelter This Winter' (British Pathé, 1940): https://www.youtube.com/watch?v=rHyxP3epU-w This episode first aired in 2024 Love the show? Support us!  Join 

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 just perfect. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/sundaynightmystery 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             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 New Adventures of Sherlock Holmes is a radio drama series which aired in the USA from 1939 to 1950, it ran for 374 episodes, with many of the later episodes considered lost media. The series was based on the Sherlock Holmes stories by Arthur Conan Doyle. Some of the surviving episode recordings may be found online, in various audio quality condition. For most of the show's run, the program starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Dr. Watson. Other actors played Holmes and Watson in later seasons. Production From the outset of the show, the series was billed in different listings under various titles including Sherlock Holmes, Sherlock Holmes and Doctor Watson, and other titles. The most popularly remembered title is The New Adventures of Sherlock Holmes. On occasion, the title of a radio episode differs from that of its original story – for example, the radio adaption of "The Adventure of the Red Circle" is entitled "Mrs. Warren's Lodger". From 1939 until 1943, episodes were adapted or written by Edith Meiser[4] who had written the earlier series The Adventures of Sherlock Holmes which aired from 1930 to 1935. Meiser left the show after disagreements with a sponsor over the amount of violence in the program. It is also reported that Meiser left the show to focus on other projects. From 1943 onward, most episodes were written by the team of Denis Green and Anthony Boucher with some early episodes written by Green and Leslie Charteris. Edith Meiser returned to write for the show for its seventh season. Max Ehrlich and Howard Merrill wrote the episodes of season 8. Denis Green returned as a writer for the last season. Originally, the show starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Doctor Watson. Together, they starred in 220 episodes which aired weekly on Mondays from 8:30 to 9:00 pm. Basil Rathbone's last episode as the famous detective was "The Singular Affair of the Baconian Cipher". He was eager to separate himself from the show to avoid being typecast in the role. Tom Conway replaced him in the starring role, though Nigel Bruce got top billing. The new series lasted 39 episodes, and Bruce and Conway then left the series. From then until 1950 the series continued with various actors playing the two principal parts. The show first aired on the Blue Network but later moved to the Mutual Broadcasting System. The show moved to Mutual in 1943 at the start of its fourth season. The series was originally broadcast from Hollywood. During World War II, the show was also broadcast overseas through the Armed Forces Radio Service. The program aired on ABC instead of Mutual for its sixth and ninth seasons. Many episodes were recorded in front of a live audience. Cast Sherlock Holmes: Basil Rathbone (1939–1946) Tom Conway (1947) John Stanley (1947–1949) Ben Wright (The Singular Affair of the Ancient Egyptian Curse in 1947, as stand-in for Tom Conway, 1949–1950 as a regular) Dr. Watson: Nigel Bruce (1939–1947) Joseph Kearns (The Haunting of Sherlock Holmes in 1946, stand-in for Nigel Bruce) Alfred Shirley (1947–1948) Ian Martin (1948) Wendell Holmes (credited as "George Spelvin") (1948–1949) Eric Snowden (The Terrifying Cats in 1946, as a stand-in for Nigel Bruce, 1949–1950 as a regular) There is only a limited amount of information available about additional cast members, since complete cast lists are available only for a handful of episodes. In multiple episodes, Mary Gordon played Mrs. Hudson, a role she also played in the 1939–1946 Sherlock Holmes film series featuring Rathbone and Bruce. Professor Moriarty was played by multiple actors in the radio series, including Joseph Kearns (who also played Watson) and Lou Merrill. Frederick Worlock played Inspector Lestrade in at least three known episodes. Worlock also played different roles in multiple films in the 1939–1946 film series, such as the role of Geoffrey Musgrave in Sherlock Holmes Faces Death. Lestrade was played by Bernard Lenrow in the seventh season and Horace Braham in the eighth season. Rex Evans played Mycroft Holmes in at least two known episodes. Evans played an assassin in the Sherlock Holmes film Pursuit to Algiers. In each episode, the announcer would be presented as arriving at the home of Dr. Watson, then retired, who would share a story about Holmes and his adventures. The announcer for the first three seasons of the show was Knox Manning. In various episodes of the fourth season, the announcers were Owen Babbe, Marx Hartman, and Bob Campbell. Harry Bartell became the announcer for the fifth season. The announcer for the sixth season was Joseph Bell. Bell had previously been the announcer for The Adventures of Sherlock Holmes. Cy Harrice took over the role for the seventh and eighth seasons. Herb Allen was the announcer for the ninth season.[28] Actors who performed in multiple roles on the show include Verna Felton, Paula Winslowe, Carl Harbord (who also played Inspector Hopkins in the Sherlock Holmes film Dressed to Kill), Herbert Rawlinson, Paul Frees, Theodore von Eltz, and June Foray. Sponsors The show's announcer acted as the spokesman for the sponsor. Grove's Bromo Quinine sponsored the show for the first three seasons. Petri Wine was the sponsor for the fourth and fifth seasons. Petri Wine stopped sponsoring the show after the end of the fifth season. While Rathbone left the show at the same time, the reason Petri ceased their sponsorship was unconnected to Rathbone's departure according to one source, which states that the decision was made because it was more affordable for Petri to sponsor the radio series The Casebook of Gregory Hood instead. The sponsor for the series was Kreml Hair Tonic for the show's sixth season, and the Trimount Clothing Co. for the seventh season. Trimount renewed their sponsorship for the eighth season. Petri Wine returned as the sponsor for the ninth season. By May 1950, it was confirmed that Petri did not plan to renew their sponsorship if the series continued. Episodes Season 1 (October 2, 1939 – March 11, 1940; 24 episodes) started with an adaptation of "The Adventure of the Sussex Vampire" and ended with an adaptation of "The Adventure of the Retired Colourman". The last episode of the season was originally intended to be an adaptation of "The Final Problem". It is not known why the change was made, but it may be because "The Final Problem" had already been used on radio several times. It was announced on the penultimate show that "The Final Problem" would be the last episode; in the final episode, Watson said he had changed his mind about which story he was going to tell. Season 2 (September 29, 1940 – March 9, 1941; 24 episodes) started with an adaptation of "The Adventure of the Empty House". The last episode was an adaptation of "The Adventure of Shoscombe Old Place". The season included a six-episode serial adapted from The Hound of the Baskervilles. Season 3 (5 October 1941 – March 1, 1942; 22 episodes) started with an adaptation of "The Adventure of the Illustrious Client" and ended with an episode titled "The Giant Rat of Sumatra". An episode also titled "The Giant Rat of Sumatra", inspired by a reference in "The Adventure of the Sussex Vampire", had previously aired in 1932 in the second season of the radio series The Adventures of Sherlock Holmes. Season 4 (May 7, 1943 – May 28, 1945; 109 episodes) started with a dramatization of "The Adventure of the Copper Beeches". The last episode of the season is titled "Dance of Death". According to the Pittsburgh Press, Nigel Bruce "astounded sound engineers" by imitating the sound of a seagull required for the episode "Death in Cornwall", which aired on February 7, 1944. Some episodes in this season and the following two seasons were novelized by H. Paul Jeffers in his 2005 book The Forgotten Adventures of Sherlock Holmes. Season 5 (September 3, 1945 – May 27, 1946; 39 episodes) started with an episode titled "The Case of the Limping Ghost", based on an incident in "The Adventure of the Crooked Man". The last episode of the season was "The Singular Affair of the Baconian Cipher", suggested by an incident in The Sign of Four. This was the last season with Basil Rathbone playing Sherlock Holmes.[42] Rathbone and Bruce also appeared on the CBS radio program Request Performance in November 1945, and swapped roles as Holmes and Watson in a short sketch performance on the program. Some of the episodes in this season were novelized by Ken Greenwald in his book The Lost Adventures of Sherlock Holmes (1989). Season 6 (October 12, 1946 – July 7, 1947; 39 episodes) started with the episode "The Adventure of the Stuttering Ghost", suggested by an incident in "The Adventure of the Noble Bachelor". The season ended with "The Adventure of the Iron Maiden".[45] This was the last season with Nigel Bruce playing Watson. Season 7 (September 28, 1947 – June 20, 1948; 39 episodes) started with "The Case of the Dog Who Changed His Mind" and ended with an adaptation of "The Adventure of the Veiled Lodger". Season 8 (September 12, 1948 – June 6, 1949; 39 episodes) started with an episode titled "The Case of the Unwelcome Ambassador" and ended with an episode titled "The Adventure of the Red Death". Season 9 (September 21, 1949 – June 14, 1950; 39 episodes) started with an episode with an unknown title. The second episode, which aired on September 28, 1949, was titled "The Eloquent Corpse". Many of this season's episodes, including the last two episodes, have unknown titles. The last episode with a known title is "Command Performance", which aired on May 31, 1950.             Sherlock Holmes is a fictional detective created by British author Arthur Conan Doyle. Referring to himself as a "consulting detective" in his stories, Holmes is known for his proficiency with observation, deduction, forensic science and logical reasoning that borders on the fantastic, which he employs when investigating cases for a wide variety of clients, including Scotland Yard. The character Sherlock Holmes first appeared in print in 1887's A Study in Scarlet. His popularity became widespread with the first series of short stories in The Strand Magazine, beginning with "A Scandal in Bohemia" in 1891; additional tales appeared from then until 1927, eventually totalling four novels and 56 short stories. All but one[a] are set in the Victorian or Edwardian eras, between about 1880 and 1914. Most are narrated by the character of Holmes's friend and biographer Dr. John H. Watson, who usually accompanies Holmes during his investigations and often shares quarters with him at the address of 221B Baker Street, London, where many of the stories begin. Though not the first fictional detective, Sherlock Holmes is arguably the best known. By the 1990s, there were already over 25,000 stage adaptations, films, television productions and publications featuring the detective, and Guinness World Records lists him as the most portrayed human literary character in film and television history. Holmes' popularity and fame are such that many have believed him to be not a fictional character but a real individual; numerous literary and fan societies have been founded on this pretence. Avid readers of the Holmes stories helped create the modern practice of fandom. The character and stories have had a profound and lasting effect on mystery writing and popular culture as a whole, with the original tales as well as thousands written by authors other than Conan Doyle being adapted into stage and radio plays, television, films, video games, and other media for over one hundred years. Inspiration for the character Sir Arthur Conan Doyle (1859–1930), Sherlock Holmes's creator, in 1914 Edgar Allan Poe's C. Auguste Dupin is generally acknowledged as the first detective in fiction and served as the prototype for many later characters, including Holmes. Conan Doyle once wrote, "Each [of Poe's detective stories] is a root from which a whole literature has developed ... Where was the detective story until Poe breathed the breath of life into it?" Similarly, the stories of Émile Gaboriau's Monsieur Lecoq were extremely popular at the time Conan Doyle began writing Holmes, and Holmes's speech and behaviour sometimes follow those of Lecoq. Doyle has his main characters discuss these literary antecedents near the beginning of A Study in Scarlet, which is set soon after Watson is first introduced to Holmes. Watson attempts to compliment Holmes by comparing him to Dupin, to which Holmes replies that he found Dupin to be "a very inferior fellow" and Lecoq to be "a miserable bungler". Conan Doyle repeatedly said that Holmes was inspired by the real-life figure of Joseph Bell, a surgeon at the Royal Infirmary of Edinburgh, whom Conan Doyle met in 1877 and had worked for as a clerk. Like Holmes, Bell was noted for drawing broad conclusions from minute observations.[13] However, he later wrote to Conan Doyle: "You are yourself Sherlock Holmes and well you know it". Sir Henry Littlejohn, Chair of Medical Jurisprudence at the University of Edinburgh Medical School, is also cited as an inspiration for Holmes. Littlejohn, who was also Police Surgeon and Medical Officer of Health in Edinburgh, provided Conan Doyle with a link between medical investigation and the detection of crime. Other possible inspirations have been proposed, though never acknowledged by Doyle, such as Maximilien Heller, by French author Henry Cauvain. In this 1871 novel (sixteen years before the first appearance of Sherlock Holmes), Henry Cauvain imagined a depressed, anti-social, opium-smoking polymath detective, operating in Paris. It is not known if Conan Doyle read the novel, but he was fluent in French.[19] Similarly, Michael Harrison suggested that a German self-styled "consulting detective" named Walter Scherer may have been the model for Holmes. Fictional character biography Family and early life Magazine cover featuring A Study in Scarlet, with drawing of a man lighting a lamp The cover page of the 1887 edition of Beeton's Christmas Annual, which contains Holmes's first appearance (A Study in Scarlet) Details of Sherlock Holmes' life in Conan Doyle's stories are scarce and often vague. Nevertheless, mentions of his early life and extended family paint a loose biographical picture of the detective. A statement of Holmes' age in "His Last Bow" places his year of birth at 1854; the story, set in August 1914, describes him as sixty years of age.[21] His parents are not mentioned, although Holmes mentions that his "ancestors" were "country squires". In "The Adventure of the Greek Interpreter", he claims that his grandmother was sister to the French artist Vernet, without clarifying whether this was Claude Joseph, Carle, or Horace Vernet. Holmes' brother Mycroft, seven years his senior, is a government official. Mycroft has a unique civil service position as a kind of human database for all aspects of government policy. Sherlock describes his brother as the more intelligent of the two, but notes that Mycroft lacks any interest in physical investigation, preferring to spend his time at the Diogenes Club. Holmes says that he first developed his methods of deduction as an undergraduate; his earliest cases, which he pursued as an amateur, came from his fellow university students. A meeting with a classmate's father led him to adopt detection as a profession. Life with Watson Holmes (in deerstalker hat) talking to Watson (in a bowler hat) in a railway compartment Holmes (right) and Watson in a Sidney Paget illustration for "The Adventure of Silver Blaze" In the first Holmes tale, A Study in Scarlet, financial difficulties lead Holmes and Dr. Watson to share rooms together at 221B Baker Street, London. Their residence is maintained by their landlady, Mrs. Hudson. Holmes works as a detective for twenty-three years, with Watson assisting him for seventeen of those years. Most of the stories are frame narratives written from Watson's point of view, as summaries of the detective's most interesting cases. Holmes frequently calls Watson's records of Holmes's cases sensational and populist, suggesting that they fail to accurately and objectively report the "science" of his craft: Detection is, or ought to be, an exact science and should be treated in the same cold and unemotional manner. You have attempted to tinge it [A Study in Scarlet] with romanticism, which produces much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid. ... Some facts should be suppressed, or, at least, a just sense of proportion should be observed in treating them. The only point in the case which deserved mention was the curious analytical reasoning from effects to causes, by which I succeeded in unravelling it. Nevertheless, when Holmes recorded a case himself, he was forced to concede that he could more easily understand the need to write it in a manner that would appeal to the public rather than his intention to focus on his own technical skill. Holmes's friendship with Watson is his most significant relationship. When Watson is injured by a bullet, although the wound turns out to be "quite superficial", Watson is moved by Holmes's reaction: It was worth a wound; it was worth many wounds; to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation. After confirming Watson's assessment of the wound, Holmes makes it clear to their opponent that the man would not have left the room alive if he genuinely had killed Watson. Practice Holmes' clients vary from the most powerful monarchs and governments of Europe, to wealthy aristocrats and industrialists, to impoverished pawnbrokers and governesses. He is known only in select professional circles at the beginning of the first story, but is already collaborating with Scotland Yard. However, his continued work and the publication of Watson's stories raise Holmes's profile, and he rapidly becomes well known as a detective; so many clients ask for his help instead of (or in addition to) that of the police that, Watson writes, by 1887 "Europe was ringing with his name" and by 1895 Holmes has "an immense practice". Police outside London ask Holmes for assistance if he is nearby. A Prime Minister and the King of Bohemia visit 221B Baker Street in person to request Holmes's assistance; the President of France awards him the Legion of Honour for capturing an assassin; the King of Scandinavia is a client; and he aids the Vatican at least twice. The detective acts on behalf of the British government in matters of national security several times and declines a knighthood "for services which may perhaps some day be described". However, he does not actively seek fame and is usually content to let the police take public credit for his work. The Great Hiatus Holmes and Moriarty wrestling at the end of a narrow path, with Holmes's hat falling into a waterfall Holmes and archenemy Moriarty struggle at the Reichenbach Falls; drawing by Sidney Paget The first set of Holmes stories was published between 1887 and 1893. Conan Doyle killed off Holmes in a final battle with the criminal mastermind Professor James Moriarty[ in "The Final Problem" (published 1893, but set in 1891), as Conan Doyle felt that "my literary energies should not be directed too much into one channel". However, the reaction of the public surprised him very much. Distressed readers wrote anguished letters to The Strand Magazine, which suffered a terrible blow when 20,000 people cancelled their subscriptions to the magazine in protest. Conan Doyle himself received many protest letters, and one lady even began her letter with "You brute". Legend has it that Londoners were so distraught upon hearing the news of Holmes's death that they wore black armbands in mourning, though there is no known contemporary source for this; the earliest known reference to such events comes from 1949. However, the recorded public reaction to Holmes's death was unlike anything previously seen for fictional events. After resisting public pressure for eight years, Conan Doyle wrote The Hound of the Baskervilles (serialised in 1901–02, with an implicit setting before Holmes's death). In 1903, Conan Doyle wrote "The Adventure of the Empty House"; set in 1894, Holmes reappears, explaining to a stunned Watson that he had faked his death to fool his enemies. Following "The Adventure of the Empty House", Conan Doyle would sporadically write new Holmes stories until 1927. Holmes aficionados refer to the period from 1891 to 1894—between his disappearance and presumed death in "The Final Problem" and his reappearance in "The Adventure of the Empty House"—as the Great Hiatus. The earliest known use of this expression dates to 1946. Retirement In His Last Bow, the reader is told that Holmes has retired to a small farm on the Sussex Downs and taken up beekeeping as his primary occupation. The move is not dated precisely, but can be presumed to be no later than 1904 (since it is referred to retrospectively in "The Adventure of the Second Stain", first published that year). The story features Holmes and Watson coming out of retirement to aid the British war effort. Only one other adventure, "The Adventure of the Lion's Mane", takes place during the detective's retirement. Personality and habits Holmes examining a bicycle with Watson standing behind in "The Adventure of the Priory School" from 1904. Sidney Paget's illustrations in The Strand Magazine iconicised both characters. Watson describes Holmes as "bohemian" in his habits and lifestyle.[54] Said to have a "cat-like" love of personal cleanliness, at the same time Holmes is an eccentric with no regard for contemporary standards of tidiness or good order. Watson describes him as in his personal habits one of the most untidy men that ever drove a fellow-lodger to distraction. [He] keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece. ... He had a horror of destroying documents. ... Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. While Holmes can be dispassionate and cold, during an investigation he is animated and excitable. He has a flair for showmanship, often keeping his methods and evidence hidden until the last possible moment so as to impress observers. His companion condones the detective's willingness to bend the truth (or break the law) on behalf of a client—lying to the police, concealing evidence or breaking into houses—when he feels it morally justifiable. Except for that of Watson, Holmes avoids casual company. In "The Gloria Scott", he tells the doctor that during two years at college he made only one friend: "I was never a very sociable fellow, Watson ... I never mixed much with the men of my year." The detective goes without food at times of intense intellectual activity, believing that "the faculties become refined when you starve them". At times, Holmes relaxes with music, either playing the violin[62] or enjoying the works of composers such as Wagner and Pablo de Sarasate. Drug use Holmes in a blue bathrobe, reclining against a pillow and smoking his pipe 1891 Paget portrait of Holmes smoking his pipe for "The Man with the Twisted Lip" Holmes occasionally uses addictive drugs, especially in the absence of stimulating cases. He sometimes used morphine and sometimes cocaine, the latter of which he injects in a seven-per cent solution; both drugs were legal in 19th-century England. As a physician, Watson strongly disapproves of his friend's cocaine habit, describing it as the detective's only vice, and concerned about its effect on Holmes's mental health and intellect. In "The Adventure of the Missing Three-Quarter", Watson says that although he has "weaned" Holmes from drugs, the detective remains an addict whose habit is "not dead, but merely sleeping". Watson and Holmes both use tobacco, smoking cigarettes, cigars, and pipes. Although his chronicler does not consider Holmes's smoking a vice per se, Watson—a physician—does criticise the detective for creating a "poisonous atmosphere" in their confined quarters. Finances Holmes is known to charge clients for his expenses and claim any reward offered for a problem's solution, such as in "The Adventure of the Speckled Band", "The Red-Headed League", and "The Adventure of the Beryl Coronet". The detective states at one point that "My professional charges are upon a fixed scale. I do not vary them, save when I remit them altogether." In this context, a client is offering to double his fee, and it is implied that wealthy clients habitually pay Holmes more than his standard rate. In "The Adventure of the Priory School", Holmes earns a £6,000 fee (at a time where annual expenses for a rising young professional were in the area of £500). However, Watson notes that Holmes would refuse to help even the wealthy and powerful if their cases did not interest him. Attitudes towards women As Conan Doyle wrote to Joseph Bell, "Holmes is as inhuman as a Babbage's Calculating Machine and just about as likely to fall in love." Holmes says of himself that he is "not a whole-souled admirer of womankind", and that he finds "the motives of women ... inscrutable. ... How can you build on such quicksand? Their most trivial actions may mean volumes". In The Sign of Four, he says, "Women are never to be entirely trusted—not the best of them", a feeling Watson notes as an "atrocious sentiment". In "The Adventure of the Lion's Mane", Holmes writes, "Women have seldom been an attraction to me, for my brain has always governed my heart." At the end of The Sign of Four, Holmes states that "love is an emotional thing, and whatever is emotional is opposed to that true, cold reason which I place above all things. I should never marry myself, lest I bias my judgement." Ultimately, Holmes claims outright that "I have never loved." But while Watson says that the detective has an "aversion to women",[85] he also notes Holmes as having "a peculiarly ingratiating way with [them]". Watson notes that their housekeeper Mrs. Hudson is fond of Holmes because of his "remarkable gentleness and courtesy in his dealings with women. He disliked and distrusted the sex, but he was always a chivalrous opponent." However, in "The Adventure of Charles Augustus Milverton", the detective becomes engaged under false pretenses in order to obtain information about a case, abandoning the woman once he has the information he requires. Irene Adler Irene Adler is a retired American opera singer and actress who appears in "A Scandal in Bohemia". Although this is her only appearance, she is one of only a handful of people who best Holmes in a battle of wits, and the only woman. For this reason, Adler is the frequent subject of pastiche writing. The beginning of the story describes the high regard in which Holmes holds her: To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. ... And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory. Five years before the story's events, Adler had a brief liaison with Crown Prince of Bohemia Wilhelm von Ormstein. As the story opens, the Prince is engaged to another. Fearful that the marriage would be called off if his fiancée's family learns of this past impropriety, Ormstein hires Holmes to regain a photograph of Adler and himself. Adler slips away before Holmes can succeed. Her memory is kept alive by the photograph of Adler that Holmes received for his part in the case. Knowledge and skills Shortly after meeting Holmes in the first story, A Study in Scarlet (generally assumed to be 1881, though the exact date is not given), Watson assesses the detective's abilities: Knowledge of Literature – nil. Knowledge of Philosophy – nil. Knowledge of Astronomy – nil. Knowledge of Politics – Feeble. Knowledge of Botany – Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. Knowledge of Geology – Practical, but limited. Tells at a glance different soils from each other. After walks, has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. Knowledge of Chemistry – Profound. Knowledge of Anatomy – Accurate, but unsystematic. Knowledge of Sensational Literature – Immense. He appears to know every detail of every horror perpetrated in the century. Plays the violin well. Is an expert singlestick player, boxer, and swordsman. Has a good practical knowledge of British law. In A Study in Scarlet, Holmes claims to be unaware that the Earth revolves around the Sun since such information is irrelevant to his work; after hearing that fact from Watson, he says he will immediately try to forget it. The detective believes that the mind has a finite capacity for information storage, and learning useless things reduces one's ability to learn useful things. The later stories move away from this notion: in The Valley of Fear, he says, "All knowledge comes useful to the detective", and in "The Adventure of the Lion's Mane", the detective calls himself "an omnivorous reader with a strangely retentive memory for trifles". Looking back on the development of the character in 1912, Conan Doyle wrote that "In the first one, the Study in Scarlet, [Holmes] was a mere calculating machine, but I had to make him more of an educated human being as I went on with him." Despite Holmes's supposed ignorance of politics, in "A Scandal in Bohemia" he immediately recognises the true identity of the disguised "Count von Kramm". At the end of A Study in Scarlet, Holmes demonstrates a knowledge of Latin. The detective cites Hafez,[98] Goethe,[99] as well as a letter from Gustave Flaubert to George Sand in the original French. In The Hound of the Baskervilles, the detective recognises works by Godfrey Kneller and Joshua Reynolds: "Watson won't allow that I know anything of art, but that is mere jealousy since our views upon the subject differ." In "The Adventure of the Bruce-Partington Plans", Watson says that "Holmes lost himself in a monograph which he had undertaken upon the Polyphonic Motets of Lassus", considered "the last word" on the subject—which must have been the result of an intensive and very specialized musicological study which could have had no possible application to the solution of criminal mysteries. Holmes is a cryptanalyst, telling Watson that "I am fairly familiar with all forms of secret writing, and am myself the author of a trifling monograph upon the subject, in which I analyse one hundred and sixty separate ciphers." Holmes also demonstrates a knowledge of psychology in "A Scandal in Bohemia", luring Irene Adler into betraying where she hid a photograph based on the premise that a woman will rush to save her most valued possession from a fire. Another example is in "The Adventure of the Blue Carbuncle", where Holmes obtains information from a salesman with a wager: "When you see a man with whiskers of that cut and the 'Pink 'un' protruding out of his pocket, you can always draw him by a bet ... I daresay that if I had put 100 pounds down in front of him, that man would not have given me such complete information as was drawn from him by the idea that he was doing me on a wager." Maria Konnikova points out in an interview with D. J. Grothe that Holmes practises what is now called mindfulness, concentrating on one thing at a time, and almost never "multitasks". She adds that in this he predates the science showing how helpful this is to the brain. Holmesian deduction Colour illustration of Holmes bending over a dead man in front of a fireplace Sidney Paget illustration of Holmes examining a corpse for "The Adventure of the Abbey Grange" Holmes observes the dress and attitude of his clients and suspects, noting skin marks (such as tattoos), contamination (such as ink stains or clay on boots), emotional state, and physical condition in order to deduce their origins and recent history. The style and state of wear of a person's clothes and personal items are also commonly relied on; in the stories, Holmes is seen applying his method to items such as walking sticks, pipes, and hats. For example, in "A Scandal in Bohemia", Holmes infers that Watson had got wet lately and had "a most clumsy and careless servant girl". When Watson asks how Holmes knows this, the detective answers: It is simplicity itself ... my eyes tell me that on the inside of your left shoe, just where the firelight strikes it, the leather is scored by six almost parallel cuts. Obviously they have been caused by someone who has very carelessly scraped round the edges of the sole in order to remove crusted mud from it. Hence, you see, my double deduction that you had been out in vile weather, and that you had a particularly malignant boot-slitting specimen of the London slavey. In the first Holmes story, A Study in Scarlet, Dr. Watson compares Holmes to C. Auguste Dupin, Edgar Allan Poe's fictional detective, who employed a similar methodology. Alluding to an episode in "The Murders in the Rue Morgue", where Dupin determines what his friend is thinking despite their having walked together in silence for a quarter of an hour, Holmes remarks: "That trick of his breaking in on his friend's thoughts with an apropos remark ... is really very showy and superficial."[112] Nevertheless, Holmes later performs the same 'trick' on Watson in "The Cardboard Box" and "The Adventure of the Dancing Men". Though the stories always refer to Holmes's intellectual detection method as "deduction", Holmes primarily relies on abduction: inferring an explanation for observed details. "From a drop of water," he writes, "a logician could infer the possibility of an Atlantic or a Niagara without having seen or heard of one or the other." However, Holmes does employ deductive reasoning as well. The detective's guiding principle, as he says in The Sign of Four, is: "When you have eliminated the impossible, whatever remains, however improbable, must be the truth." Despite Holmes's remarkable reasoning abilities, Conan Doyle still paints him as fallible in this regard (this being a central theme of "The Yellow Face"). Forensic science See caption 19th-century Seibert microscope Though Holmes is famed for his reasoning capabilities, his investigative technique relies heavily on the acquisition of hard evidence. Many of the techniques he employs in the stories were at the time in their infancy. The detective is particularly skilled in the analysis of trace evidence and other physical evidence, including latent prints (such as footprints, hoof prints, and shoe and tire impressions) to identify actions at a crime scene, using tobacco ashes and cigarette butts to identify criminals, utilizing handwriting analysis and graphology, comparing typewritten letters to expose a fraud, using gunpowder residue to expose two murderers, and analyzing small pieces of human remains to expose two murders. Because of the small scale of much of his evidence, the detective often uses a magnifying glass at the scene and an optical microscope at his Baker Street lodgings. He uses analytical chemistry for blood residue analysis and toxicology to detect poisons; Holmes's home chemistry laboratory is mentioned in "The Naval Treaty". Ballistics feature in "The Adventure of the Empty House" when spent bullets are recovered to be matched with a suspected murder weapon, a practice which became regular police procedure only some fifteen years after the story was published. Laura J. Snyder has examined Holmes's methods in the context of mid- to late-19th-century criminology, demonstrating that, while sometimes in advance of what official investigative departments were formally using at the time, they were based upon existing methods and techniques. For example, fingerprints were proposed to be distinct in Conan Doyle's day, and while Holmes used a thumbprint to solve a crime in "The Adventure of the Norwood Builder" (generally held to be set in 1895), the story was published in 1903, two years after Scotland Yard's fingerprint bureau opened. Though the effect of the Holmes stories on the development of forensic science has thus often been overstated, Holmes inspired future generations of forensic scientists to think scientifically and analytically. Disguises Holmes displays a strong aptitude for acting and disguise. In several stories ("The Sign of Four", "The Adventure of Charles Augustus Milverton", "The Man with the Twisted Lip", "The Adventure of the Empty House" and "A Scandal in Bohemia"), to gather evidence undercover, he uses disguises so convincing that Watson fails to recognise him. In others ("The Adventure of the Dying Detective" and "A Scandal in Bohemia"), Holmes feigns injury or illness to incriminate the guilty. In the latter story, Watson says, "The stage lost a fine actor ... when [Holmes] became a specialist in crime." Guy Mankowski has said of Holmes that his ability to change his appearance to blend into any situation "helped him personify the idea of the English eccentric chameleon, in a way that prefigured the likes of David Bowie". Agents Until Watson's arrival at Baker Street, Holmes largely worked alone, only occasionally employing agents from the city's underclass. These agents included a variety of informants, such as Langdale Pike, a "human book of reference upon all matters of social scandal", and Shinwell Johnson, who acted as Holmes's "agent in the huge criminal underworld of London". The best known of Holmes's agents are a group of street children he called "the Baker Street Irregulars". Combat Long-barreled revolver with a black handle British Army (Adams) Mark III, the type probably carried by Watson Pistols Holmes and Watson often carry pistols with them to confront criminals—in Watson's case, his old service weapon (probably a Mark III Adams revolver, issued to British troops during the 1870s).[139] Holmes and Watson shoot the eponymous hound in The Hound of the Baskervilles, and in "The Adventure of the Empty House", Watson pistol-whips Colonel Sebastian Moran. In "The Problem of Thor Bridge", Holmes uses Watson's revolver to solve the case through an experiment. Other weapons As a gentleman, Holmes often carries a stick or cane. He is described by Watson as an expert at singlestick, and uses his cane twice as a weapon. In A Study in Scarlet, Watson describes Holmes as an expert swordsman, and in "The Gloria Scott", the detective says he practised fencing while at university.[59] In several stories ("A Case of Identity", "The Red-Headed League", "The Adventure of the Six Napoleons"), Holmes wields a riding crop, described in the latter story as his "favourite weapon". Personal combat Holmes fighting Holmes outfighting Mr Woodley in "The Solitary Cyclist" The detective is described (or demonstrated) as possessing above-average physical strength. In "The Yellow Face", Holmes's chronicler says, "Few men were capable of greater muscular effort." In "The Adventure of the Speckled Band", Dr. Roylott demonstrates his strength by bending a fire poker in half. Watson describes Holmes as laughing and saying, "'If he had remained I might have shown him that my grip was not much more feeble than his own.' As he spoke he picked up the steel poker and, with a sudden effort, straightened it out again." Holmes is an adept bare-knuckle fighter; "The Gloria Scott" mentions that Holmes boxed while at university. In The Sign of Four, he introduces himself to McMurdo, a prize fighter, as "the amateur who fought three rounds with you at Alison's rooms on the night of your benefit four years back". McMurdo remembers: "Ah, you're one that has wasted your gifts, you have! You might have aimed high if you had joined the fancy." In "The Yellow Face", Watson says: "He was undoubtedly one of the finest boxers of his weight that I have ever seen." In "The Solitary Cyclist", Holmes visits a country pub to make enquiries regarding a certain Mr Woodley which results in violence. Mr Woodley, Holmes tells Watson, ... had been drinking his beer in the tap-room, and had heard the whole conversation. Who was I? What did I want? What did I mean by asking questions? He had a fine flow of language, and his adjectives were very vigorous. He ended a string of abuse by a vicious backhander, which I failed to entirely avoid. The next few minutes were delicious. It was a straight left against a slogging ruffian. I emerged as you see me. Mr. Woodley went home in a cart. Another character subsequently refers to Mr Woodley as looking "much disfigured" as a result of his encounter with Holmes. In "The Adventure of the Empty House", Holmes tells Watson that he used a Japanese martial art known as baritsu to fling Moriarty to his death in the Reichenbach Falls. "Baritsu" is Conan Doyle's version of bartitsu, which combines jujitsu with boxing and cane fencing.       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-r

For the children of the Nigerian diaspora, displaced by war and split between two worlds, footballers from John Fashanu to Jay-Jay Okocha were a first glimpse of themselves in Britain's mainstream. Written and read by Aniefiok Ekpoudom. Help support our independent journalism at theguardian.com/longreadpod

According to research from Forrester, organizations that align their go-to-market teams grow 19% faster and are 15% more profitable. So how can you foster effective cross-functional communication to break down silos and secure leadership buy-in for your enablement strategies? Shawnna Sumaoang: Hi, and welcome to the Win Win podcast. I’m your host, Shawnna Sumaoang. Join us as we dive into changing trends in the workplace and how to navigate them successfully. Here to discuss this topic is Sonal Patel, the director of GTM enablement at Rakuten. Thank you for joining us, Sonal. I’d love for you to tell us about yourself, your background and your role. Sonal Patel: Thank you for having me. So my name is Sonal Patel. I’m born in the fantastic city that is London, UK. Shout out to any fellow Londoners listening in. That was my base until about two years ago where I got an opportunity to relocate to US. I’m now living in a much warmer climate based out of Frisco, Dallas. So a little bit about my background. I started my career in digital marketing affiliates client side, which led me to join Rakuten Advertising, managing clients and leading the UK client services team. From there, I moved into a strategy and sales engineering role, supporting sales teams this time with deal analysis, pricing profitability, which was a great transition into sales enablement where I now support commercial teams globally. SS: We’re so excited to have you here now at Rakuten. You have held roles across the go-to-market organization from account management to client services and operations. Talk to us about your journey into your current role and how this experience influences your approach to go to market enablement. SP: Yeah, sure. How much time do we have for this one? Okay. So as I said, I started my career in client services and account management, and this gave me a deep understanding of client, needs and the challenges of building strong relationships and really driving that customer satisfaction. Managing complex accounts, leading high performing teams taught me what it takes to really deliver results. This experience, I would say shaped my approach to enablement. I focus on supporting commercial teams today with the right tools, a clear messaging, and content that really aligns with client expectations and business goals. I also, in this role, work very closely with our delivery teams to help our commercial groups really navigate that internal noise, ensuring that we’ve got alignment. So this spans across teams like product, product marketing, marketing, sales solutions, and more. SS: I love that journey. On LinkedIn, you also mentioned that you specialize in helping leaders overcome challenges to drive success. Can you share an example of a challenge that you’ve been able to help overcome for your business through enablement? SP: Yeah, a big challenge I came to understand is for our sellers really tailoring the experience to buyer needs while navigating really lengthy sales processes to stand out in the market. We really needed to streamline our messaging and make that experience more impactful. So one way I tackled this was by implementing digital showrooms, taking you back a bit. It started when a seller ran out of time during a pitch process to demo our dashboards. So we created short bite-sized demo videos showcasing our features. That prospects really cared about the most. And from there, I developed custom digital room templates that basically allows our sales teams to share our full product suite, as well as RFP documents and all of those documents that is needed within that sales process in less than five clicks. So this has been an absolute game changer. It’s helping us deliver tailored, engaging experiences, while really most importantly, simplifying that process for our sales teams. SS: Another common challenge I hear a lot about, I know a lot of enablement teams face, is gaining leadership buy-in, and this is an area where you have had a lot of success. I’d love to understand, what are some of your best practices for securing support for your programs from your executive leaders? SP: Yeah, sure. Great question. Securing leadership buy-in is tough. It’s not just about getting your foot in the door, it’s about keeping it there. It’s taken me years to figure out, if I’m honest. For me, it comes down to three things. Identifying the right stakeholders. Understanding their pain points and keeping the relationship ongoing and fluid. One aspect I’ll talk about here is early in my career, I thought I was a good listener, but I was really just waiting for my turn to talk. I’d latch onto a keyword and start crafting my response instead of actually processing what was being said. But when I started truly listening, things started changing. Leadership tells you exactly what they care about. And problem solving becomes a two-way conversation by focusing on their needs. And showcasing how my programs address their priorities. I’ve been able to build that trust and secure their support. But like I said, it’s taken years to really figure that out. It’s not a one-time effort. It’s really about maintaining that dialogue, staying adaptable and really continuing to deliver that value over time. So a lot of perseverance, I’d say it doesn’t come overnight. But yeah, I would go back to those kind of three things that I really identified to really help secure a leadership buy-in. SS: And what would you say is the impact of having strong executive support for enablement? SP: Strong executive support, I’d say is critical for enablement because it really drives that credibility, the prioritization and the adoption across the organization. It also ensures enablement is seen as that strategic function that it really is that impacts business outcomes and it’s not just a nice to have. I’m a pretty lean team here at Rakuten Advertising. So that again has taken. A good few years to really establish when leaders champion enablement, it really helps break down those silos. It aligns teams towards shared goals, secures the resources. I really need within enablement to really scale programs. And most importantly, I’d say, it fosters a culture of continuous learning, really empowering those teams to perform at their best and deliver better results for the business, ultimately, is our shared outcome. SS: Now, beyond executive leaders, how do you build and maintain strong relationships with key stakeholders at all levels of the organization, like cross-functional partners and frontline reps? SP: Yeah, great question. Another one that could probably spend a long time talking about. Building strong relationships with key stakeholders, especially reps. It’s all about the three pillars, if you like, which is consistency, collaboration, and trust. I focus on building rep relationships first, since they’re the ones using the tools and programs we create. One way I’ve done this is by launching a champions program. So partnering with our early adopters to test use cases, gather their feedback and then refine programs. So these champions also provide testimonials that have really helped me drive adoption across the various projects and deliverables that I’ve set out. It does take time and perseverance to build that trust and credibility, but it’s incredibly worth it. I also lean on my support system. What I mean by support system, this is my mentors at work, external enablement resources and events, coffee chats with other enablement professionals to really stay sharp and learn from their experiences. And I bring that into the activity that I’m running as well. So I’d say staying connected and open to feedback has really helped me build those kind of strong and lasting relationships. SS: And how have these strong stakeholder relationships helped you optimize and innovate your enablement programs? SP: Great question. The stakeholder relationships are really key for any enablement leader, in my opinion, because enablement is a partnership with sales leaders. We’re not the stick when enforcing things. We need sales leaders to really drive that accountability and frontline managers as well have to get behind the programs that we create for them to really succeed. My role, or an enablement role if you like, is to execute, really protect our sellers. And keep that chaos down by streamlining their experience. So when you have that trust and buy-in from stakeholders, from frontline managers, it’s easier to get that honest feedback to make improvements and create programs that actually work and are embraced by the team. So you’ve got that buy-in across all levels. SS: I love that. Shifting a little bit, one area where you’ve started to see a lot of traction with your reps is in the use of Digital Rooms. Can you tell us about your strategy for leveraging Digital Rooms and some of the results you’re seeing so far? SP: Yeah, so Digital Rooms have been a game changer for our reps. I spoke about this a little bit earlier. I’m going to go into a bit more detail. It all started when we couldn’t do a live demo during an RFP pitch. So working closely with sales reps and sales solutions, I created our first digital showroom tailored to our client’s needs, including 25 plus custom videos, centralizing resources, such as RFP decks, commercial proposals, and case studies. From there, I worked with sales leaders to get their buy-in. And what I mean by that is I took this one room that we created. Showcased it to sales leaders, and that led to the creating of regional and then vertical-specific rooms. After a lot of, I’d say, initial hand-holding and training, reps can now create a bespoke room in just under five clicks. We’ve scaled to over ten global templates, and these rooms are really helping reps deliver more tailored, impactful experiences, while making the process so much easier for them. A recent win for the business. That we secured in our sales or prospect actually called out the digital showroom as a standout feature versus competitors. They were speaking to it’s building that kind of trust, building those testimonials, going back to having your champions on the field. That’s really helped us kind of elevate digital showrooms and get the adoption that we have today. SS: Fantastic results. And on that note, how do you measure the impact of your enablement strategy and demonstrate that impact to your stakeholders? Are there any key wins you can share with us? SP: One way I measure the impact of enablement strategy at Rakuten is using heat maps to track activity on playbooks and initiatives. So we have a number of different plays that we push out to the business using high spot as well as digital room and pitch activity. So I share this with leaders to really show that engagement. I also work very closely in conjunction with sales leaders, as well as. Working closely with our content SMEs. So all of our subject matter experts that are producing a lot of this content to review the success of it. So the metrics that I focus on here are internal usage, as well as external engagement, especially through digital rooms by setting shared goals with all of these stakeholders quarterly. It helps my efforts stay aligned and focused on delivering business outcomes that we’ve set out. So it is a shared best practice there. SS: Last question. For enablement leaders looking to gain leadership buy- in within their organization, what is the biggest takeaway you’d leave them with? SP: I’ll share three takeaways with you that have really resonated with me. First is listen first, then act. And what I mean by that is take your time to truly understand leadership pain points and priorities. This took me years. Build trust by showing you’re solving their specific challenges and you’re not just pushing your own agenda. Second, I would say align enablement to business goals. Really clearly connect your programs to measurable outcomes that matter to leadership. So things like revenue growth, pipeline acceleration, or improved rep performance. Show them the why behind your initiatives. And then finally, the last thought I’d leave you with is around building those ongoing relationships. It’s really key. Leadership buy-in isn’t a one- time effort. Keep that relationship fluid by regularly sharing progress, results, and feedback, and really make them feel like partners in the process, not just stakeholders. SS: Thank you so much, Sonal, for joining us. I really appreciate it. SP: Thank you. Closing remarks, if I may, I would like to give a quick shout-out to some of my enablement coffee chat mentors that I talked about. The impact that a lot of the individuals I’m about to share with you have been really pivotal to my enablement journey and where I am today, my coffee trap mentors include Sheevaun Thatcher, Del Nakhi, Kate Jack, they’re all pretty big influences in the enablement space and they were fantastic to take some time out to speak to me about. They started their career in enablement and I was able to take a lot of those learnings and apply them to my day-to-day. Highspot leaders. We’ve got some fantastic mentors that I leaned in a lot and I continue to lean in. Raksha, Lisa, Laura in EMEA, and Matthew. And then finally my manager, mentor friend who gives me the space to really grow, test and learn and has been and is instrumental in contributing to my enablement success in recent years. And that’s Eric Nakano. SS: To our audience. Thank you for listening to this episode of the Win Win podcast. Be sure to tune in next time for more insights on how you can maximize enablement success with Highspot.

In this episode of Season 6 I am chatting with guest expert, Tamsin Williamson, aka, the Parenthood Coach, all about Embracing Motherhood as your biggest opportunity yet. You will hear us talk about: how can we challenge the assumption that motherhood means having to settle for less how can we focus on all the opportunities, invitations and possibilities motherhood can open up for us how can we focus on motherhood as a beautiful and thrilling enabler rather than a reason to play small and hide ourselves away   Tamsin Williamson is a passionate Life and Mindset Coach and business owner, devoted Londoner, burger and yoga fanatic (a great combo!) and Mum to two spirited gorgeous kiddos. Find out more about Tamsin ~ Website: https://theparenthoodcoach.co.uk/ Instagram: https://www.instagram.com/theparenthoodcoach/ Podcast: https://theparenthoodcoach.co.uk/podcast   To see more of Emma, the Mums Club, Journals and Coaching Sessions, on demand courses, resources and workshops head to: Join the Rest and Refuel Mums Club Membership ~ https://emmabenyoncoaching.co.uk/rest-and-refuel-mums-club Grab a copy of the Review and Reflect Journal to start your reflection on your 2024 - https://www.amazon.co.uk/stores/Ms-Emma-Benyon/author/B0DMM7KKTG Facebook - @emmabenyon.coach Instagram - @emmabenyon.coach Website - https://emmabenyoncoaching.co.uk/ Email - emma@emmabenyoncoaching.co.uk Monthly self care circles ~ https://emmabenyoncoaching.co.uk/coaching-with-emma/restandrefuelmonthlycircles   Sign up to the newsletter and get your Wellness Life Check for Busy Mums and review your life right now ~ https://dashboard.mailerlite.com/forms/851037/114640934069601722/share

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 just perfect. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/sundaynightmystery 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             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 New Adventures of Sherlock Holmes is a radio drama series which aired in the USA from 1939 to 1950, it ran for 374 episodes, with many of the later episodes considered lost media. The series was based on the Sherlock Holmes stories by Arthur Conan Doyle. Some of the surviving episode recordings may be found online, in various audio quality condition. For most of the show's run, the program starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Dr. Watson. Other actors played Holmes and Watson in later seasons. Production From the outset of the show, the series was billed in different listings under various titles including Sherlock Holmes, Sherlock Holmes and Doctor Watson, and other titles. The most popularly remembered title is The New Adventures of Sherlock Holmes. On occasion, the title of a radio episode differs from that of its original story – for example, the radio adaption of "The Adventure of the Red Circle" is entitled "Mrs. Warren's Lodger". From 1939 until 1943, episodes were adapted or written by Edith Meiser[4] who had written the earlier series The Adventures of Sherlock Holmes which aired from 1930 to 1935. Meiser left the show after disagreements with a sponsor over the amount of violence in the program. It is also reported that Meiser left the show to focus on other projects. From 1943 onward, most episodes were written by the team of Denis Green and Anthony Boucher with some early episodes written by Green and Leslie Charteris. Edith Meiser returned to write for the show for its seventh season. Max Ehrlich and Howard Merrill wrote the episodes of season 8. Denis Green returned as a writer for the last season. Originally, the show starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Doctor Watson. Together, they starred in 220 episodes which aired weekly on Mondays from 8:30 to 9:00 pm. Basil Rathbone's last episode as the famous detective was "The Singular Affair of the Baconian Cipher". He was eager to separate himself from the show to avoid being typecast in the role. Tom Conway replaced him in the starring role, though Nigel Bruce got top billing. The new series lasted 39 episodes, and Bruce and Conway then left the series. From then until 1950 the series continued with various actors playing the two principal parts. The show first aired on the Blue Network but later moved to the Mutual Broadcasting System. The show moved to Mutual in 1943 at the start of its fourth season. The series was originally broadcast from Hollywood. During World War II, the show was also broadcast overseas through the Armed Forces Radio Service. The program aired on ABC instead of Mutual for its sixth and ninth seasons. Many episodes were recorded in front of a live audience. Cast Sherlock Holmes: Basil Rathbone (1939–1946) Tom Conway (1947) John Stanley (1947–1949) Ben Wright (The Singular Affair of the Ancient Egyptian Curse in 1947, as stand-in for Tom Conway, 1949–1950 as a regular) Dr. Watson: Nigel Bruce (1939–1947) Joseph Kearns (The Haunting of Sherlock Holmes in 1946, stand-in for Nigel Bruce) Alfred Shirley (1947–1948) Ian Martin (1948) Wendell Holmes (credited as "George Spelvin") (1948–1949) Eric Snowden (The Terrifying Cats in 1946, as a stand-in for Nigel Bruce, 1949–1950 as a regular) There is only a limited amount of information available about additional cast members, since complete cast lists are available only for a handful of episodes. In multiple episodes, Mary Gordon played Mrs. Hudson, a role she also played in the 1939–1946 Sherlock Holmes film series featuring Rathbone and Bruce. Professor Moriarty was played by multiple actors in the radio series, including Joseph Kearns (who also played Watson) and Lou Merrill. Frederick Worlock played Inspector Lestrade in at least three known episodes. Worlock also played different roles in multiple films in the 1939–1946 film series, such as the role of Geoffrey Musgrave in Sherlock Holmes Faces Death. Lestrade was played by Bernard Lenrow in the seventh season and Horace Braham in the eighth season. Rex Evans played Mycroft Holmes in at least two known episodes. Evans played an assassin in the Sherlock Holmes film Pursuit to Algiers. In each episode, the announcer would be presented as arriving at the home of Dr. Watson, then retired, who would share a story about Holmes and his adventures. The announcer for the first three seasons of the show was Knox Manning. In various episodes of the fourth season, the announcers were Owen Babbe, Marx Hartman, and Bob Campbell. Harry Bartell became the announcer for the fifth season. The announcer for the sixth season was Joseph Bell. Bell had previously been the announcer for The Adventures of Sherlock Holmes. Cy Harrice took over the role for the seventh and eighth seasons. Herb Allen was the announcer for the ninth season.[28] Actors who performed in multiple roles on the show include Verna Felton, Paula Winslowe, Carl Harbord (who also played Inspector Hopkins in the Sherlock Holmes film Dressed to Kill), Herbert Rawlinson, Paul Frees, Theodore von Eltz, and June Foray. Sponsors The show's announcer acted as the spokesman for the sponsor. Grove's Bromo Quinine sponsored the show for the first three seasons. Petri Wine was the sponsor for the fourth and fifth seasons. Petri Wine stopped sponsoring the show after the end of the fifth season. While Rathbone left the show at the same time, the reason Petri ceased their sponsorship was unconnected to Rathbone's departure according to one source, which states that the decision was made because it was more affordable for Petri to sponsor the radio series The Casebook of Gregory Hood instead. The sponsor for the series was Kreml Hair Tonic for the show's sixth season, and the Trimount Clothing Co. for the seventh season. Trimount renewed their sponsorship for the eighth season. Petri Wine returned as the sponsor for the ninth season. By May 1950, it was confirmed that Petri did not plan to renew their sponsorship if the series continued. Episodes Season 1 (October 2, 1939 – March 11, 1940; 24 episodes) started with an adaptation of "The Adventure of the Sussex Vampire" and ended with an adaptation of "The Adventure of the Retired Colourman". The last episode of the season was originally intended to be an adaptation of "The Final Problem". It is not known why the change was made, but it may be because "The Final Problem" had already been used on radio several times. It was announced on the penultimate show that "The Final Problem" would be the last episode; in the final episode, Watson said he had changed his mind about which story he was going to tell. Season 2 (September 29, 1940 – March 9, 1941; 24 episodes) started with an adaptation of "The Adventure of the Empty House". The last episode was an adaptation of "The Adventure of Shoscombe Old Place". The season included a six-episode serial adapted from The Hound of the Baskervilles. Season 3 (5 October 1941 – March 1, 1942; 22 episodes) started with an adaptation of "The Adventure of the Illustrious Client" and ended with an episode titled "The Giant Rat of Sumatra". An episode also titled "The Giant Rat of Sumatra", inspired by a reference in "The Adventure of the Sussex Vampire", had previously aired in 1932 in the second season of the radio series The Adventures of Sherlock Holmes. Season 4 (May 7, 1943 – May 28, 1945; 109 episodes) started with a dramatization of "The Adventure of the Copper Beeches". The last episode of the season is titled "Dance of Death". According to the Pittsburgh Press, Nigel Bruce "astounded sound engineers" by imitating the sound of a seagull required for the episode "Death in Cornwall", which aired on February 7, 1944. Some episodes in this season and the following two seasons were novelized by H. Paul Jeffers in his 2005 book The Forgotten Adventures of Sherlock Holmes. Season 5 (September 3, 1945 – May 27, 1946; 39 episodes) started with an episode titled "The Case of the Limping Ghost", based on an incident in "The Adventure of the Crooked Man". The last episode of the season was "The Singular Affair of the Baconian Cipher", suggested by an incident in The Sign of Four. This was the last season with Basil Rathbone playing Sherlock Holmes.[42] Rathbone and Bruce also appeared on the CBS radio program Request Performance in November 1945, and swapped roles as Holmes and Watson in a short sketch performance on the program. Some of the episodes in this season were novelized by Ken Greenwald in his book The Lost Adventures of Sherlock Holmes (1989). Season 6 (October 12, 1946 – July 7, 1947; 39 episodes) started with the episode "The Adventure of the Stuttering Ghost", suggested by an incident in "The Adventure of the Noble Bachelor". The season ended with "The Adventure of the Iron Maiden".[45] This was the last season with Nigel Bruce playing Watson. Season 7 (September 28, 1947 – June 20, 1948; 39 episodes) started with "The Case of the Dog Who Changed His Mind" and ended with an adaptation of "The Adventure of the Veiled Lodger". Season 8 (September 12, 1948 – June 6, 1949; 39 episodes) started with an episode titled "The Case of the Unwelcome Ambassador" and ended with an episode titled "The Adventure of the Red Death". Season 9 (September 21, 1949 – June 14, 1950; 39 episodes) started with an episode with an unknown title. The second episode, which aired on September 28, 1949, was titled "The Eloquent Corpse". Many of this season's episodes, including the last two episodes, have unknown titles. The last episode with a known title is "Command Performance", which aired on May 31, 1950.             Sherlock Holmes is a fictional detective created by British author Arthur Conan Doyle. Referring to himself as a "consulting detective" in his stories, Holmes is known for his proficiency with observation, deduction, forensic science and logical reasoning that borders on the fantastic, which he employs when investigating cases for a wide variety of clients, including Scotland Yard. The character Sherlock Holmes first appeared in print in 1887's A Study in Scarlet. His popularity became widespread with the first series of short stories in The Strand Magazine, beginning with "A Scandal in Bohemia" in 1891; additional tales appeared from then until 1927, eventually totalling four novels and 56 short stories. All but one[a] are set in the Victorian or Edwardian eras, between about 1880 and 1914. Most are narrated by the character of Holmes's friend and biographer Dr. John H. Watson, who usually accompanies Holmes during his investigations and often shares quarters with him at the address of 221B Baker Street, London, where many of the stories begin. Though not the first fictional detective, Sherlock Holmes is arguably the best known. By the 1990s, there were already over 25,000 stage adaptations, films, television productions and publications featuring the detective, and Guinness World Records lists him as the most portrayed human literary character in film and television history. Holmes' popularity and fame are such that many have believed him to be not a fictional character but a real individual; numerous literary and fan societies have been founded on this pretence. Avid readers of the Holmes stories helped create the modern practice of fandom. The character and stories have had a profound and lasting effect on mystery writing and popular culture as a whole, with the original tales as well as thousands written by authors other than Conan Doyle being adapted into stage and radio plays, television, films, video games, and other media for over one hundred years. Inspiration for the character Sir Arthur Conan Doyle (1859–1930), Sherlock Holmes's creator, in 1914 Edgar Allan Poe's C. Auguste Dupin is generally acknowledged as the first detective in fiction and served as the prototype for many later characters, including Holmes. Conan Doyle once wrote, "Each [of Poe's detective stories] is a root from which a whole literature has developed ... Where was the detective story until Poe breathed the breath of life into it?" Similarly, the stories of Émile Gaboriau's Monsieur Lecoq were extremely popular at the time Conan Doyle began writing Holmes, and Holmes's speech and behaviour sometimes follow those of Lecoq. Doyle has his main characters discuss these literary antecedents near the beginning of A Study in Scarlet, which is set soon after Watson is first introduced to Holmes. Watson attempts to compliment Holmes by comparing him to Dupin, to which Holmes replies that he found Dupin to be "a very inferior fellow" and Lecoq to be "a miserable bungler". Conan Doyle repeatedly said that Holmes was inspired by the real-life figure of Joseph Bell, a surgeon at the Royal Infirmary of Edinburgh, whom Conan Doyle met in 1877 and had worked for as a clerk. Like Holmes, Bell was noted for drawing broad conclusions from minute observations.[13] However, he later wrote to Conan Doyle: "You are yourself Sherlock Holmes and well you know it". Sir Henry Littlejohn, Chair of Medical Jurisprudence at the University of Edinburgh Medical School, is also cited as an inspiration for Holmes. Littlejohn, who was also Police Surgeon and Medical Officer of Health in Edinburgh, provided Conan Doyle with a link between medical investigation and the detection of crime. Other possible inspirations have been proposed, though never acknowledged by Doyle, such as Maximilien Heller, by French author Henry Cauvain. In this 1871 novel (sixteen years before the first appearance of Sherlock Holmes), Henry Cauvain imagined a depressed, anti-social, opium-smoking polymath detective, operating in Paris. It is not known if Conan Doyle read the novel, but he was fluent in French.[19] Similarly, Michael Harrison suggested that a German self-styled "consulting detective" named Walter Scherer may have been the model for Holmes. Fictional character biography Family and early life Magazine cover featuring A Study in Scarlet, with drawing of a man lighting a lamp The cover page of the 1887 edition of Beeton's Christmas Annual, which contains Holmes's first appearance (A Study in Scarlet) Details of Sherlock Holmes' life in Conan Doyle's stories are scarce and often vague. Nevertheless, mentions of his early life and extended family paint a loose biographical picture of the detective. A statement of Holmes' age in "His Last Bow" places his year of birth at 1854; the story, set in August 1914, describes him as sixty years of age.[21] His parents are not mentioned, although Holmes mentions that his "ancestors" were "country squires". In "The Adventure of the Greek Interpreter", he claims that his grandmother was sister to the French artist Vernet, without clarifying whether this was Claude Joseph, Carle, or Horace Vernet. Holmes' brother Mycroft, seven years his senior, is a government official. Mycroft has a unique civil service position as a kind of human database for all aspects of government policy. Sherlock describes his brother as the more intelligent of the two, but notes that Mycroft lacks any interest in physical investigation, preferring to spend his time at the Diogenes Club. Holmes says that he first developed his methods of deduction as an undergraduate; his earliest cases, which he pursued as an amateur, came from his fellow university students. A meeting with a classmate's father led him to adopt detection as a profession. Life with Watson Holmes (in deerstalker hat) talking to Watson (in a bowler hat) in a railway compartment Holmes (right) and Watson in a Sidney Paget illustration for "The Adventure of Silver Blaze" In the first Holmes tale, A Study in Scarlet, financial difficulties lead Holmes and Dr. Watson to share rooms together at 221B Baker Street, London. Their residence is maintained by their landlady, Mrs. Hudson. Holmes works as a detective for twenty-three years, with Watson assisting him for seventeen of those years. Most of the stories are frame narratives written from Watson's point of view, as summaries of the detective's most interesting cases. Holmes frequently calls Watson's records of Holmes's cases sensational and populist, suggesting that they fail to accurately and objectively report the "science" of his craft: Detection is, or ought to be, an exact science and should be treated in the same cold and unemotional manner. You have attempted to tinge it [A Study in Scarlet] with romanticism, which produces much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid. ... Some facts should be suppressed, or, at least, a just sense of proportion should be observed in treating them. The only point in the case which deserved mention was the curious analytical reasoning from effects to causes, by which I succeeded in unravelling it. Nevertheless, when Holmes recorded a case himself, he was forced to concede that he could more easily understand the need to write it in a manner that would appeal to the public rather than his intention to focus on his own technical skill. Holmes's friendship with Watson is his most significant relationship. When Watson is injured by a bullet, although the wound turns out to be "quite superficial", Watson is moved by Holmes's reaction: It was worth a wound; it was worth many wounds; to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation. After confirming Watson's assessment of the wound, Holmes makes it clear to their opponent that the man would not have left the room alive if he genuinely had killed Watson. Practice Holmes' clients vary from the most powerful monarchs and governments of Europe, to wealthy aristocrats and industrialists, to impoverished pawnbrokers and governesses. He is known only in select professional circles at the beginning of the first story, but is already collaborating with Scotland Yard. However, his continued work and the publication of Watson's stories raise Holmes's profile, and he rapidly becomes well known as a detective; so many clients ask for his help instead of (or in addition to) that of the police that, Watson writes, by 1887 "Europe was ringing with his name" and by 1895 Holmes has "an immense practice". Police outside London ask Holmes for assistance if he is nearby. A Prime Minister and the King of Bohemia visit 221B Baker Street in person to request Holmes's assistance; the President of France awards him the Legion of Honour for capturing an assassin; the King of Scandinavia is a client; and he aids the Vatican at least twice. The detective acts on behalf of the British government in matters of national security several times and declines a knighthood "for services which may perhaps some day be described". However, he does not actively seek fame and is usually content to let the police take public credit for his work. The Great Hiatus Holmes and Moriarty wrestling at the end of a narrow path, with Holmes's hat falling into a waterfall Holmes and archenemy Moriarty struggle at the Reichenbach Falls; drawing by Sidney Paget The first set of Holmes stories was published between 1887 and 1893. Conan Doyle killed off Holmes in a final battle with the criminal mastermind Professor James Moriarty[ in "The Final Problem" (published 1893, but set in 1891), as Conan Doyle felt that "my literary energies should not be directed too much into one channel". However, the reaction of the public surprised him very much. Distressed readers wrote anguished letters to The Strand Magazine, which suffered a terrible blow when 20,000 people cancelled their subscriptions to the magazine in protest. Conan Doyle himself received many protest letters, and one lady even began her letter with "You brute". Legend has it that Londoners were so distraught upon hearing the news of Holmes's death that they wore black armbands in mourning, though there is no known contemporary source for this; the earliest known reference to such events comes from 1949. However, the recorded public reaction to Holmes's death was unlike anything previously seen for fictional events. After resisting public pressure for eight years, Conan Doyle wrote The Hound of the Baskervilles (serialised in 1901–02, with an implicit setting before Holmes's death). In 1903, Conan Doyle wrote "The Adventure of the Empty House"; set in 1894, Holmes reappears, explaining to a stunned Watson that he had faked his death to fool his enemies. Following "The Adventure of the Empty House", Conan Doyle would sporadically write new Holmes stories until 1927. Holmes aficionados refer to the period from 1891 to 1894—between his disappearance and presumed death in "The Final Problem" and his reappearance in "The Adventure of the Empty House"—as the Great Hiatus. The earliest known use of this expression dates to 1946. Retirement In His Last Bow, the reader is told that Holmes has retired to a small farm on the Sussex Downs and taken up beekeeping as his primary occupation. The move is not dated precisely, but can be presumed to be no later than 1904 (since it is referred to retrospectively in "The Adventure of the Second Stain", first published that year). The story features Holmes and Watson coming out of retirement to aid the British war effort. Only one other adventure, "The Adventure of the Lion's Mane", takes place during the detective's retirement. Personality and habits Holmes examining a bicycle with Watson standing behind in "The Adventure of the Priory School" from 1904. Sidney Paget's illustrations in The Strand Magazine iconicised both characters. Watson describes Holmes as "bohemian" in his habits and lifestyle.[54] Said to have a "cat-like" love of personal cleanliness, at the same time Holmes is an eccentric with no regard for contemporary standards of tidiness or good order. Watson describes him as in his personal habits one of the most untidy men that ever drove a fellow-lodger to distraction. [He] keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece. ... He had a horror of destroying documents. ... Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. While Holmes can be dispassionate and cold, during an investigation he is animated and excitable. He has a flair for showmanship, often keeping his methods and evidence hidden until the last possible moment so as to impress observers. His companion condones the detective's willingness to bend the truth (or break the law) on behalf of a client—lying to the police, concealing evidence or breaking into houses—when he feels it morally justifiable. Except for that of Watson, Holmes avoids casual company. In "The Gloria Scott", he tells the doctor that during two years at college he made only one friend: "I was never a very sociable fellow, Watson ... I never mixed much with the men of my year." The detective goes without food at times of intense intellectual activity, believing that "the faculties become refined when you starve them". At times, Holmes relaxes with music, either playing the violin[62] or enjoying the works of composers such as Wagner and Pablo de Sarasate. Drug use Holmes in a blue bathrobe, reclining against a pillow and smoking his pipe 1891 Paget portrait of Holmes smoking his pipe for "The Man with the Twisted Lip" Holmes occasionally uses addictive drugs, especially in the absence of stimulating cases. He sometimes used morphine and sometimes cocaine, the latter of which he injects in a seven-per cent solution; both drugs were legal in 19th-century England. As a physician, Watson strongly disapproves of his friend's cocaine habit, describing it as the detective's only vice, and concerned about its effect on Holmes's mental health and intellect. In "The Adventure of the Missing Three-Quarter", Watson says that although he has "weaned" Holmes from drugs, the detective remains an addict whose habit is "not dead, but merely sleeping". Watson and Holmes both use tobacco, smoking cigarettes, cigars, and pipes. Although his chronicler does not consider Holmes's smoking a vice per se, Watson—a physician—does criticise the detective for creating a "poisonous atmosphere" in their confined quarters. Finances Holmes is known to charge clients for his expenses and claim any reward offered for a problem's solution, such as in "The Adventure of the Speckled Band", "The Red-Headed League", and "The Adventure of the Beryl Coronet". The detective states at one point that "My professional charges are upon a fixed scale. I do not vary them, save when I remit them altogether." In this context, a client is offering to double his fee, and it is implied that wealthy clients habitually pay Holmes more than his standard rate. In "The Adventure of the Priory School", Holmes earns a £6,000 fee (at a time where annual expenses for a rising young professional were in the area of £500). However, Watson notes that Holmes would refuse to help even the wealthy and powerful if their cases did not interest him. Attitudes towards women As Conan Doyle wrote to Joseph Bell, "Holmes is as inhuman as a Babbage's Calculating Machine and just about as likely to fall in love." Holmes says of himself that he is "not a whole-souled admirer of womankind", and that he finds "the motives of women ... inscrutable. ... How can you build on such quicksand? Their most trivial actions may mean volumes". In The Sign of Four, he says, "Women are never to be entirely trusted—not the best of them", a feeling Watson notes as an "atrocious sentiment". In "The Adventure of the Lion's Mane", Holmes writes, "Women have seldom been an attraction to me, for my brain has always governed my heart." At the end of The Sign of Four, Holmes states that "love is an emotional thing, and whatever is emotional is opposed to that true, cold reason which I place above all things. I should never marry myself, lest I bias my judgement." Ultimately, Holmes claims outright that "I have never loved." But while Watson says that the detective has an "aversion to women",[85] he also notes Holmes as having "a peculiarly ingratiating way with [them]". Watson notes that their housekeeper Mrs. Hudson is fond of Holmes because of his "remarkable gentleness and courtesy in his dealings with women. He disliked and distrusted the sex, but he was always a chivalrous opponent." However, in "The Adventure of Charles Augustus Milverton", the detective becomes engaged under false pretenses in order to obtain information about a case, abandoning the woman once he has the information he requires. Irene Adler Irene Adler is a retired American opera singer and actress who appears in "A Scandal in Bohemia". Although this is her only appearance, she is one of only a handful of people who best Holmes in a battle of wits, and the only woman. For this reason, Adler is the frequent subject of pastiche writing. The beginning of the story describes the high regard in which Holmes holds her: To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. ... And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory. Five years before the story's events, Adler had a brief liaison with Crown Prince of Bohemia Wilhelm von Ormstein. As the story opens, the Prince is engaged to another. Fearful that the marriage would be called off if his fiancée's family learns of this past impropriety, Ormstein hires Holmes to regain a photograph of Adler and himself. Adler slips away before Holmes can succeed. Her memory is kept alive by the photograph of Adler that Holmes received for his part in the case. Knowledge and skills Shortly after meeting Holmes in the first story, A Study in Scarlet (generally assumed to be 1881, though the exact date is not given), Watson assesses the detective's abilities: Knowledge of Literature – nil. Knowledge of Philosophy – nil. Knowledge of Astronomy – nil. Knowledge of Politics – Feeble. Knowledge of Botany – Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. Knowledge of Geology – Practical, but limited. Tells at a glance different soils from each other. After walks, has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. Knowledge of Chemistry – Profound. Knowledge of Anatomy – Accurate, but unsystematic. Knowledge of Sensational Literature – Immense. He appears to know every detail of every horror perpetrated in the century. Plays the violin well. Is an expert singlestick player, boxer, and swordsman. Has a good practical knowledge of British law. In A Study in Scarlet, Holmes claims to be unaware that the Earth revolves around the Sun since such information is irrelevant to his work; after hearing that fact from Watson, he says he will immediately try to forget it. The detective believes that the mind has a finite capacity for information storage, and learning useless things reduces one's ability to learn useful things. The later stories move away from this notion: in The Valley of Fear, he says, "All knowledge comes useful to the detective", and in "The Adventure of the Lion's Mane", the detective calls himself "an omnivorous reader with a strangely retentive memory for trifles". Looking back on the development of the character in 1912, Conan Doyle wrote that "In the first one, the Study in Scarlet, [Holmes] was a mere calculating machine, but I had to make him more of an educated human being as I went on with him." Despite Holmes's supposed ignorance of politics, in "A Scandal in Bohemia" he immediately recognises the true identity of the disguised "Count von Kramm". At the end of A Study in Scarlet, Holmes demonstrates a knowledge of Latin. The detective cites Hafez,[98] Goethe,[99] as well as a letter from Gustave Flaubert to George Sand in the original French. In The Hound of the Baskervilles, the detective recognises works by Godfrey Kneller and Joshua Reynolds: "Watson won't allow that I know anything of art, but that is mere jealousy since our views upon the subject differ." In "The Adventure of the Bruce-Partington Plans", Watson says that "Holmes lost himself in a monograph which he had undertaken upon the Polyphonic Motets of Lassus", considered "the last word" on the subject—which must have been the result of an intensive and very specialized musicological study which could have had no possible application to the solution of criminal mysteries. Holmes is a cryptanalyst, telling Watson that "I am fairly familiar with all forms of secret writing, and am myself the author of a trifling monograph upon the subject, in which I analyse one hundred and sixty separate ciphers." Holmes also demonstrates a knowledge of psychology in "A Scandal in Bohemia", luring Irene Adler into betraying where she hid a photograph based on the premise that a woman will rush to save her most valued possession from a fire. Another example is in "The Adventure of the Blue Carbuncle", where Holmes obtains information from a salesman with a wager: "When you see a man with whiskers of that cut and the 'Pink 'un' protruding out of his pocket, you can always draw him by a bet ... I daresay that if I had put 100 pounds down in front of him, that man would not have given me such complete information as was drawn from him by the idea that he was doing me on a wager." Maria Konnikova points out in an interview with D. J. Grothe that Holmes practises what is now called mindfulness, concentrating on one thing at a time, and almost never "multitasks". She adds that in this he predates the science showing how helpful this is to the brain. Holmesian deduction Colour illustration of Holmes bending over a dead man in front of a fireplace Sidney Paget illustration of Holmes examining a corpse for "The Adventure of the Abbey Grange" Holmes observes the dress and attitude of his clients and suspects, noting skin marks (such as tattoos), contamination (such as ink stains or clay on boots), emotional state, and physical condition in order to deduce their origins and recent history. The style and state of wear of a person's clothes and personal items are also commonly relied on; in the stories, Holmes is seen applying his method to items such as walking sticks, pipes, and hats. For example, in "A Scandal in Bohemia", Holmes infers that Watson had got wet lately and had "a most clumsy and careless servant girl". When Watson asks how Holmes knows this, the detective answers: It is simplicity itself ... my eyes tell me that on the inside of your left shoe, just where the firelight strikes it, the leather is scored by six almost parallel cuts. Obviously they have been caused by someone who has very carelessly scraped round the edges of the sole in order to remove crusted mud from it. Hence, you see, my double deduction that you had been out in vile weather, and that you had a particularly malignant boot-slitting specimen of the London slavey. In the first Holmes story, A Study in Scarlet, Dr. Watson compares Holmes to C. Auguste Dupin, Edgar Allan Poe's fictional detective, who employed a similar methodology. Alluding to an episode in "The Murders in the Rue Morgue", where Dupin determines what his friend is thinking despite their having walked together in silence for a quarter of an hour, Holmes remarks: "That trick of his breaking in on his friend's thoughts with an apropos remark ... is really very showy and superficial."[112] Nevertheless, Holmes later performs the same 'trick' on Watson in "The Cardboard Box" and "The Adventure of the Dancing Men". Though the stories always refer to Holmes's intellectual detection method as "deduction", Holmes primarily relies on abduction: inferring an explanation for observed details. "From a drop of water," he writes, "a logician could infer the possibility of an Atlantic or a Niagara without having seen or heard of one or the other." However, Holmes does employ deductive reasoning as well. The detective's guiding principle, as he says in The Sign of Four, is: "When you have eliminated the impossible, whatever remains, however improbable, must be the truth." Despite Holmes's remarkable reasoning abilities, Conan Doyle still paints him as fallible in this regard (this being a central theme of "The Yellow Face"). Forensic science See caption 19th-century Seibert microscope Though Holmes is famed for his reasoning capabilities, his investigative technique relies heavily on the acquisition of hard evidence. Many of the techniques he employs in the stories were at the time in their infancy. The detective is particularly skilled in the analysis of trace evidence and other physical evidence, including latent prints (such as footprints, hoof prints, and shoe and tire impressions) to identify actions at a crime scene, using tobacco ashes and cigarette butts to identify criminals, utilizing handwriting analysis and graphology, comparing typewritten letters to expose a fraud, using gunpowder residue to expose two murderers, and analyzing small pieces of human remains to expose two murders. Because of the small scale of much of his evidence, the detective often uses a magnifying glass at the scene and an optical microscope at his Baker Street lodgings. He uses analytical chemistry for blood residue analysis and toxicology to detect poisons; Holmes's home chemistry laboratory is mentioned in "The Naval Treaty". Ballistics feature in "The Adventure of the Empty House" when spent bullets are recovered to be matched with a suspected murder weapon, a practice which became regular police procedure only some fifteen years after the story was published. Laura J. Snyder has examined Holmes's methods in the context of mid- to late-19th-century criminology, demonstrating that, while sometimes in advance of what official investigative departments were formally using at the time, they were based upon existing methods and techniques. For example, fingerprints were proposed to be distinct in Conan Doyle's day, and while Holmes used a thumbprint to solve a crime in "The Adventure of the Norwood Builder" (generally held to be set in 1895), the story was published in 1903, two years after Scotland Yard's fingerprint bureau opened. Though the effect of the Holmes stories on the development of forensic science has thus often been overstated, Holmes inspired future generations of forensic scientists to think scientifically and analytically. Disguises Holmes displays a strong aptitude for acting and disguise. In several stories ("The Sign of Four", "The Adventure of Charles Augustus Milverton", "The Man with the Twisted Lip", "The Adventure of the Empty House" and "A Scandal in Bohemia"), to gather evidence undercover, he uses disguises so convincing that Watson fails to recognise him. In others ("The Adventure of the Dying Detective" and "A Scandal in Bohemia"), Holmes feigns injury or illness to incriminate the guilty. In the latter story, Watson says, "The stage lost a fine actor ... when [Holmes] became a specialist in crime." Guy Mankowski has said of Holmes that his ability to change his appearance to blend into any situation "helped him personify the idea of the English eccentric chameleon, in a way that prefigured the likes of David Bowie". Agents Until Watson's arrival at Baker Street, Holmes largely worked alone, only occasionally employing agents from the city's underclass. These agents included a variety of informants, such as Langdale Pike, a "human book of reference upon all matters of social scandal", and Shinwell Johnson, who acted as Holmes's "agent in the huge criminal underworld of London". The best known of Holmes's agents are a group of street children he called "the Baker Street Irregulars". Combat Long-barreled revolver with a black handle British Army (Adams) Mark III, the type probably carried by Watson Pistols Holmes and Watson often carry pistols with them to confront criminals—in Watson's case, his old service weapon (probably a Mark III Adams revolver, issued to British troops during the 1870s).[139] Holmes and Watson shoot the eponymous hound in The Hound of the Baskervilles, and in "The Adventure of the Empty House", Watson pistol-whips Colonel Sebastian Moran. In "The Problem of Thor Bridge", Holmes uses Watson's revolver to solve the case through an experiment. Other weapons As a gentleman, Holmes often carries a stick or cane. He is described by Watson as an expert at singlestick, and uses his cane twice as a weapon. In A Study in Scarlet, Watson describes Holmes as an expert swordsman, and in "The Gloria Scott", the detective says he practised fencing while at university.[59] In several stories ("A Case of Identity", "The Red-Headed League", "The Adventure of the Six Napoleons"), Holmes wields a riding crop, described in the latter story as his "favourite weapon". Personal combat Holmes fighting Holmes outfighting Mr Woodley in "The Solitary Cyclist" The detective is described (or demonstrated) as possessing above-average physical strength. In "The Yellow Face", Holmes's chronicler says, "Few men were capable of greater muscular effort." In "The Adventure of the Speckled Band", Dr. Roylott demonstrates his strength by bending a fire poker in half. Watson describes Holmes as laughing and saying, "'If he had remained I might have shown him that my grip was not much more feeble than his own.' As he spoke he picked up the steel poker and, with a sudden effort, straightened it out again." Holmes is an adept bare-knuckle fighter; "The Gloria Scott" mentions that Holmes boxed while at university. In The Sign of Four, he introduces himself to McMurdo, a prize fighter, as "the amateur who fought three rounds with you at Alison's rooms on the night of your benefit four years back". McMurdo remembers: "Ah, you're one that has wasted your gifts, you have! You might have aimed high if you had joined the fancy." In "The Yellow Face", Watson says: "He was undoubtedly one of the finest boxers of his weight that I have ever seen." In "The Solitary Cyclist", Holmes visits a country pub to make enquiries regarding a certain Mr Woodley which results in violence. Mr Woodley, Holmes tells Watson, ... had been drinking his beer in the tap-room, and had heard the whole conversation. Who was I? What did I want? What did I mean by asking questions? He had a fine flow of language, and his adjectives were very vigorous. He ended a string of abuse by a vicious backhander, which I failed to entirely avoid. The next few minutes were delicious. It was a straight left against a slogging ruffian. I emerged as you see me. Mr. Woodley went home in a cart. Another character subsequently refers to Mr Woodley as looking "much disfigured" as a result of his encounter with Holmes. In "The Adventure of the Empty House", Holmes tells Watson that he used a Japanese martial art known as baritsu to fling Moriarty to his death in the Reichenbach Falls. "Baritsu" is Conan Doyle's version of bartitsu, which combines jujitsu with boxing and cane fencing.       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-r

Which actor would you want to be played by? Though that question isn't hypothetical for Alan (shoutout Toby Jones), Lionel shares his own thoughts in this week's Media Confidential Q&A.And with the recent arrival of digital newspaper The Londoner, what impact has it had on the capital's local media landscape? The editors give their verdict on Joshi Hermann's latest endeavour.Alan and Lionel are asked what measures they have put in place to protect journalists in dangerous situations, including war zones. Plus, in an age of digital surveillance, how can reporters keep themselves safe? Hosted on Acast. See acast.com/privacy for more information.

Hospital admissions data suggests a growing proportion of patients admitted to wards in England after being stabbed are under 18 years old.It comes amid growing calls to finally crack down on online blade sales and London actor Idris Elba backing the blunting of sharp tips on kitchen knives.The Standard podcast is joined by Patrick Green, chief executive of the Ben Kinsella Trust, which was founded in honour of a 16-year-old Londoner stabbed to death in an unprovoked attack in 2008 after celebrating finishing his GCSEs with friends.The charity and Elba are working with the government's Coalition To Tackle Knife Crime initiative, which aims to halve Britain's blades menace within a decade.In part two, Network Rail has sparked a commuter backlash over train times ‘vanishing' from information boards three minutes before departure - but could the nudge tactic improve disabled access and service punctuality?We speak with Michael Solomon Williams, head of campaigns at the Campaign for Better Transport. Hosted on Acast. See acast.com/privacy for more information.

The Reds cruised into a Carabao Cup Final meeting with Newcastle after easily overturning a first leg deficit against sorry Spurs.  Chris Smith is joined by John Brennan and TLW Editor Dave Usher to reflect on a satisfying night in which the Londoners were made to pay for over-celebrating at the end of the first leg. We did tell you it was only half time, lads!

What is London's heartbeat? Rachelle Abbott joins Emma Strain, customer director at Transport for London, to discuss how important diverse communities are to the capital. Emma also reveals their award-winning animated moquette design, titled ‘Fabric of London', which tells real stories shared by Londoners, reflecting the vital role TfL plays in bringing people from all backgrounds together. Transport for London, VCCP and Wavemaker UK's design is now available to view at Outernet, in this week's edition of our newspaper, and online at standard.co.uk. Hosted on Acast. See acast.com/privacy for more information.

Tony Cottee, the striker who joined Everton for a then British record fee of £2.2million in 1988, netting 99 goals in 241 games for the Blues, is the latest guest on Goodison Park: My Home. Snapped up from his boyhood club West Ham United when many had expected him to cross the capital and join Arsenal instead, the Londoner – now aged 59 – talks affectionately but candidly about the ups and downs of his six-year spell on Merseyside. Cottee made a dream start to his Everton career, hitting the mark after just 34 seconds against Newcastle United and going on to complete the first of his half dozen hat-tricks for the club against the Magpies, the highest total from a Blues player since Dixie Dean, who registered a super-human 37, some 30 ahead of nearest challenger Bobby Parker on seven. Despite finishing top scorer in five of his six full seasons at Goodison Park, the diminutive frontman did not always see eye to eye with his managers and lifts the lid on how a difficult spell under Howard Kendall led to him facing an unlikely opponent while turning out for the club's third team! However, for all his travails, Cottee, who host Chris Beesley reveals netted the first Everton goal he ever saw, retains a passionate affection for the Blues and looks back on his time at the club with great fondness. Gavin Buckland's Book 'The End' | Order your copy here: https://tinyurl.com/GavinBucklandTheEnd Everton FC podcasts from the Liverpool ECHO's Royal Blue YouTube channel. Get exclusive Everton FC content - including podcasts, live shows and videos - everyday.  Subscribe to the Royal Blue Everton FC YouTube Channel and watch daily live shows HERE: https://bit.ly/3aNfYav Listen and subscribe to the Royal Blue Podcast for all your latest Everton FC content via Apple and Spotify: APPLE: https://bit.ly/3HbiY1E SPOTIFY: https://bit.ly/47xwdnY Visit the Liverpool ECHO website: https://www.liverpoolecho.co.uk/all-about/everton-fc Follow us on Twitter: https://twitter.com/LivEchoEFC Follow us on TikTok: https://www.tiktok.com/@royal.blue.everto Follow us on Facebook: https://www.facebook.com/LiverpoolEchoEFC Learn more about your ad choices. Visit megaphone.fm/adchoices

A devoted father and long-distance truck driver vanished in Arizona's Tonto National Forest under chillingly bizarre circumstances, leaving behind only a locked truck and haunting eyewitness accounts.Darkness Syndicate members get the ad-free version. https://weirddarkness.com/syndicateInfo on the next LIVE SCREAM event. https://weirddarkness.com/LiveScreamInfo on the next WEIRDO WATCH PARTY event. https://weirddarkness.com/TVIN THIS EPISODE: In May 1995, Devin Williams, a devoted father and trucker, vanished under mysterious circumstances in Arizona's Tonto National Forest. His journey turned into a mystery, marked by sightings of a semi-truck driving erratically and Devin's last known moments of confusion. Despite an abandoned truck with undisturbed cargo and the eerie discovery of his skull two years later, the question remains: What happened to Devin Williams in those remote woods? (The Bizarre Disappearance of Truck Driver Devin Williams) *** What do astronomers say about those who deny the moon landing really took place? The conspiracy theory gets an assist from, believe it or not, the New York Mets! (The Faked Moon Landing And The New York Mets) *** New England has a lot of great places to visit, and travel times to these locations are minimal. One of the most infamous would be Rhode Island – home to story of vampire Mercy Brown. (Vampires of Rhode Island) *** Until the Humpty Doo poltergeist outbreak of 1998, Australia's most notorious poltergeist was a very persistent, wall-bashing, stone-throwing entity known as the “Guyra Ghost” which terrorized William Bowen, his wife and three children in their tiny weatherboard cottage just outside Guyra, New South Wales in early 1921. (The Guyra Ghost) *** In 1814, London experienced one of the most bizarre disasters in British history. An unfortunate chain of events at the Horseshoe Brewery led to the death of 8 women and children as they were caught up in London's Great Beer Flood. But, what really happened? And, did Londoners really get drunk, as beer flowed past their homes in the streets, free for the taking? (The Great London Beer Flood) *** Ghost marriages in China have led to a very unsavory and deeply disturbing trade. They are called ghost marriages, because the groom is given a dead woman to marry… often forced to do so. And the stories are, understandably, horrifying. (Forced to Marry a Corpse) *** In September 1982, people wanting to get away from aches and pains from the flu or just a headache shopped store shelves for relief… and ended up dead. Their Tylenol had been laced with poison. (The Tylenol Murders)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Disclaimer and Show Open00:03:25.688 = The Bizarre Disappearance of Truck Driver Devin Williams00:14:47.216 = Fake Moon Landing and the New York Mets00:21:13.631 = Vampires of Rhode Island00:25:50.781 = Forced To Marry a Corpse00:32:45.032 = Guyra Ghost00:40:05.363 = Great London Beer Flood00:54:58.076 = Tylenol Murders01:01:22.357 = Show CloseSOURCES AND RESOURCES FROM THE EPISODE…Episode Page at WeirdDarkness.com: https://weirddarkness.com/DevinWilliamsBOOK: “Mercy: The Last New England Vampire” by Sarah L. Thomson: https://amzn.to/3OCqiaR“The Great London Beer Flood” by Lenora for Haunted Palace Blog: https://weirddarkness.tiny.us/4mksvfhe“The Faked Moon Landing And The New York Mets” by Michael Richmond for The Conversation: https://weirddarkness.tiny.us/56av32z3“The Bizarre Disappearance of Truck Driver Devin Williams” by Zach Brown for Oola.com: https://weirddarkness.tiny.us/24kah92v“Vampires of Rhode Island” by David Albaugh for BasementOfTheBizarre.com: https://weirddarkness.tiny.us/2s4mykvd“The Guyra Ghost” posted by Paul Cropper at TheFortean.com: https://weirddarkness.tiny.us/2whkdd7n“Forced To Marry a Corpse” by Ossiana Tepfenhart for Medium: https://weirddarkness.tiny.us/3wcc49bz“The Tylenol Murders” by Dr. Howard Markel for PBS: https://weirddarkness.tiny.us/yckth74h=====(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.=====Originally aired: February 28, 2924TRANSCRIPT: https://weirddarkness.tiny.us/h4xm5n9s

UK chancellor Rachel Reeves will bid for more investment in Britain as she travels to the World Economic Forum's annual meeting in Davos this week.Reeves is expected to meet the heads of major international banks during her two-day Swiss visit to promote Britain's fiscal credentials for the future.But it comes amid record government borrowing, government department cuts ahead and minuscule growth of just 0.1 per cent.The Standard podcast is joined by Ashwin Kumar, director of research and policy at the Institute of Public Policy Research, professor of social policy at Manchester Metropolitan University and former advisor to ex-PM Gordon Brown.In part two, The London Standard's chief political correspondent Rachael Burford on why some residents of two boroughs are being warned their council tax bills will double, but there's - slightly - better news for fellow Londoners in the most cash-strapped authorities. Hosted on Acast. See acast.com/privacy for more information.

A new film from Mike Leigh is always a cause for celebration. Starting with his first feature Bleak Moments in 1971, Leigh has carved out a singular place in British and global cinema for his beautifully sensitive and detailed portraits of the lives of his largely working-class characters. His latest, Hard Truths, arrives six years after his previous release, the 2018 historical drama Peterloo. The new film reunites Leigh with the great actress Marianne Jean-Baptiste, with whom he worked on the Oscar-nominated Secrets & Lies in 1996. In Hard Truths, Jean-Baptiste plays Pansy, a middle-aged Londoner teetering on the verge of a nervous breakdown. Perpetually unhappy, she spends her days spewing vitriol at everyone she encounters—especially her resigned husband (David Webber) and depressed adult son (Tuwaine Barrett). Only after she is confronted by her sister, played by Leigh veteran Michelle Austin, does she begin to confront the roots of her inexplicable anger. On today's Podcast, Film Comment Editors Devika Girish and Clinton Krute sat down with Leigh to dig into his process—everything from casting actors and choosing locations to working with music composers and choosing the film's title. A true actor's filmmaker, Leigh works closely with his cast over months to develop characters and their backstories. What we see on screen is only, as Leigh remarked, “the tip of the iceberg.”

Hello Wonderful Readers,I hope you had a lovely holiday. Despite having Covid and then the flu and watching the neighborhood my mother grew up in being razed by a wildfire, I am keeping my promise to you. I'm here to tell you the story of how Todor and I met. Before I do that, I have one very exciting announcement.Upcoming Topic on Misseducated Podcast: Open RelationshipsNext week, I will be interviewing an anonymous girl about the successful open relationship she's been in with her partner for the last four years. They do all kinds of fun things together, like go to play parties. While open relationships are common, I know very few couples that have done it successfully. She's graciously agreed to be interviewed by me for the Misseducated podcast. So, if you have a question for her, please feel free to comment below if you are a paid subscriber, or you can respond to this email or text me. My interview with her should be great, but whatever questions you send me will make it even better.Thank you so much!I hope you enjoy the romance to come

In response to the onset of German bombing raids during World War II, many of England's most vulnerable citizens evacuated or were temporarily evacuated out of urban areas to safer, more rural parts of the country. Those who remained in the cities would ultimately spend years enduring wartime blackouts, periods where the city was plunged into complete darkness in order to prevent German bombers from easily identifying their targets. The blackouts were a significant inconvenience and safety risk for everyone, but for at least one Londoner, they offered a perfect opportunity to enact his darkest fantasies.Thank you to the Incredible Dave White of Bring Me the Axe Podcast for research and Writing support!ReferencesBolton News. 1942. "Is 'killer' at large?" Bolton News, February 14: 1.Campbell, Duncan. 2010. "London in the blitz: how crime flourished under cover of the blackout." The Guardian, August 28.Driscoll, Margarette. 2022. "Ranmpage of the Blackout Ripper." Daily Mail, November 24.Evening Standard. 1942. "Accused of murder of 4 women." Evening Standard (London, England), March 26: 8.Evening Telegraph. 1942. "'Killer' theory in wave of London murders." Evening Telegraph (Derby, England), February 14: 8.Herald Express. 1942. "Cadet's defense in murder trial." Herald Express (Devon, England), April 28: 1.Hull Daily Mail. 1942. "London murders." Hull Daily Mail, February 11: 1.Imperial War Museum. n.d. Imperial War Museum. https://www.iwm.org.uk/history/the-nation-at-a-standstill-shutdown-in-the-second-world-war.Liverpool Daily Post. 1942. "Another London murder." Liverpool Daily Post, February 14: 1.Storey, Neil. 2023. The Blackout Murders: Homicide in WW2. South Yorkshire, England: Pen and Sword.The Citizen. 1942. "Cadet sent for trial." The Citizen (Gloucester, England), March 27: 1.—. 1942. "'Evidence was overwhelming'." The Citizen (Gloucester, England), June 9: 8.—. 1942. "Fresh Jury to be sworn in." The Citizen (Gloucester, England), April 24: 1.The Times. 1942. "Airman charged with three murders." The Times (London, England), March 13: 2.Venning, Annabel. 2017. "The Blackout Ripper; under cover of the Blitz." Mail on Sunday, January 29.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Did we actually accomplish any of our goals from 2024? Erin gives us a run update and discovers a new show called the Sopranos... we heard it's pretty good. Mike rants about OPEN signs and the "keep me logged in box". Londoners are leaving fake reviews to trick tourists. NYC subway gets stuck underground and New Yorkers are unphased. Why are there no trees in SOHO. A man finds snow he kept in his parent's freezer. Why is airplane mode important? Should you stack your plates at a restaurant when you're done? Miami Dolphins' linebacker gifted his teammates custom-made replicas of their high school football jerseys.

In Richard Curtis' Love Actually, a selection of mainly white and middle-class Londoners seem to be living in a parallel universe – one in which the war on terror never happened and the '90s never ended. What kinds of love are really on offer in this misty-eyed vision of modern Britain? Following Novara FM's investigation […]

Just in time for Christmas, we're covering a seasonal favorite… or one you love to hate, depending on the corner of the internet you occupy. In 2003, Richard Curtis decked the halls of the ensemble romantic comedy mold with Love Actually. Telling several stories of love and heartache among Londoners during the holidays, Love Actually has since achieved … Continue reading "322 – Love Actually"

Before his marriage, before meeting Herman Melville, and before the publication of The Scarlet Letter, Nathaniel Hawthorne was living in near seclusion, writing the stories that formed his first collection Twice-Told Tales. Edgar Allan Poe was impressed: "His tone is singularly effective," he wrote, "wild, plaintive, thoughtful, and in full accordance with his themes...We look upon him as one of the few men of indisputable genius to whom our country has as yet given birth." In this episode, Jacke takes a look at one of these Twice-Told Tales, the short story "Wakefield," in which a Londoner abandons his wife, takes up residence one street away, then rejoins his family after twenty years as if he'd never left. The story is read in full by Emma Wilson, HOL producer. PLUS Amelia Possanza (Lesbian Love Story: A Memoir in Archives) stops by to discuss her choice for the last book she will ever read. Additional listening: 296 Nathaniel Hawthorne 461 The Peabody Sisters (with Megan Marshall) 297 The Scarlet Letter The music in this episode is by Gabriel Ruiz-Bernal. Learn more at gabrielruizbernal.com. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Most of us can only dream of the splendour of the internal spaces occupied by London's elite. A lucky few might have a neighbour who's made it big on the pools, bought one of those glossy magazines with photos of a Londoner in their parlour and invited the whole street round to have a squiz. This week on the Three Bean Salad Podcast, the beans are knocking dreams and glossy magazines into cocked hat as their very own topflight Londoner gives the inside scoop on some of his earliest interior design choices. With thanks to Lynne from Highbury (also London of course) for picking interior design as this week's topic du week (as they say in London one imagines).Join our PATREON for ad-free episodes and a monthly bonus episode: www.patreon.com/threebeansaladWith thanks to our editor Laura Grimshaw.Merch now available here: www.threebeansaladshop.comGet in touch: threebeansaladpod@gmail.com @beansaladpod

Today's cast: Stugotz, Greg Cote, Chris, Billy, Jessica, and Roy. Dan is out this week covering the Clippers in Los Angeles, so Greg Cote is in the driver's seat after a weekend home alone without his wife or Dolphins football. Stugotz's lazy river takes the crew right toward what he's calling the best day of his sports life with afternoon Mets playoff baseball, and a Jets Monday Night Football game for 1st place. Then, 1 p.m. hockey on Indigenous People's Day, Nick Sirianni goes after Eagles fans, Greg says Londoners don't know anything about the NFL, and the crew shares how they tell their dogs to go No. 1 or No. 2. Plus, who will be the next NFL coach fired? Also, the Ice Cats, the Heat's preseason game, Chris Cote's issue with LSU night games, and Greg Cote's commute to work. Learn more about your ad choices. Visit podcastchoices.com/adchoices