Podcasts about Macbeth

Melvyn Bragg and guests discuss one of the most energetic, varied and innovative playwrights of his time. Thomas Middleton (1580-1627) worked across the London stages both alone and with others from Dekker and Rowley to Shakespeare and more. Middleton's range included raucous city comedies such as A Chaste Maid in Cheapside and chilling revenge tragedies like The Changeling and The Revenger's Tragedy, some with the main adult companies and some with child actors playing the scheming adults. Middleton seemed to be everywhere on the Jacobean stage, mixing warmth and cruelty amid laughter and horror, and even Macbeth's witches may be substantially his work.WithEmma Smith Professor of Shakespeare Studies at Hertford College, University of OxfordLucy Munro Professor of Shakespeare and Early Modern Literature at Kings College LondonAnd Michelle O'Callaghan Professor of Early Modern Literature at the University of ReadingProducer: Simon TillotsonReading list:Swapan Chakravorty, Society and Politics in the Plays of Thomas Middleton (Clarendon Press, 1996)Suzanne Gossett (ed.), Thomas Middleton in Context (Cambridge University Press, 2011)R.V. Holdsworth (ed.), Three Jacobean Revenge Tragedies: A Selection of Critical Essays (Macmillan, 1990), especially ‘Calvinist Psychology in Middleton's Tragedies' by John StachniewskiMark Hutchings and A. A. Bromham, Middleton and His Collaborators (Northcote House, 2007)Gordon McMullan and Kelly Stage (eds.), The Changeling: The State of Play (The Arden Shakespeare, 2022)Lucy Munro, Shakespeare in the Theatre: The King's Men (The Arden Shakespeare, 2020)David Nicol, Middleton & Rowley: Forms of Collaboration in the Jacobean Playhouse (University of Toronto Press, 2012)Michelle O'Callaghan, Thomas Middleton: Renaissance Dramatist (Edinburgh University Press, 2009)Gary Taylor and Trish Thomas Henley (eds.), The Oxford Handbook of Thomas Middleton (Oxford University Press, 2012)In Our Time is a BBC Studios Audio Production

Your boys are back with some poetic cinema this week! First up, Sean discusses some live pro wrestling he witnessed and Parker discusses the old TV shows he's finally watching. Then, the guys watch a vicious Japanese death match and do a live commentary for it. Will either one throw up from intense gore? Then, it's more Japanese blood as the guys review Akira Kurosawa's "Throne of Blood," which is based on Shakespeare's "Macbeth." A samurai (Toshiro Mifune) meets a witch that tells him he will become powerful, leading him to seek power. Does he go too far? Direct Donloyd Here After this episode, be sure to go to patreon.com/junkfooddinner and sign up to listen to literally hundreds of hours of bonus episodes!

Ava Roy grew up in rural Western Massachusetts, in an area rich in literature and theater. Ava met Ann Podlozny back east before Ava came to California to attend Stanford, which is where she created a theater production group. Today, Ava is the founding artistic director of We Players, a 25-year-old theater company based in San Francisco. Ann, who'll play Lady Macbeth in an upcoming, all-woman production of Macbeth, is based in London and came back to be in the play and to support her friend Ava in whatever way she can. While at Stanford, Ava let her art play, in the sense of public displays such as throwing banners off the clock tower and tying bodies to sculptures around campus. She discovered that art would be her life's work, not just a hobby. One idea she had while in Palo Alto was to do a production of Shakepeare's Romeo and Juliet held all around the Stanford campus. It was a success, as the audience grew and grew as it moved around, picking up more and more people along the way. Ava was able to turn this type of theater into an independently designed major. After graduating, she moved to the East Bay and started doing theater productions there and in The City. She started partnering with the National Park Service (NPS) in 2008 and then with SF Recreation and Parks in 2018. Ava's first production at Fort Point, the Civil War-era fort under the southern base of the Golden Gate Bridge, was in 2008. From 2009 to 2011, she had a three-year residency on Alcatraz, further deepening her relationship with the NPS. In 2013, she kicked off Macbeth at Fort Point. But a funny thing happened—a government shutdown that year effectively ended that run under the bridge. Fast-forward nearly a decade, and the NPS reached out to see whether Ava and We Players were interested in trying again to produce Macbeth at Fort Point. That brings us to the present day. Ava's friend Ann had left theater and had been working in movies. She'd also been taking epic walks—as in hundreds of miles at a time, all over the world. She was on one of these walks when she and Ava connected over Zoom and Ann offered to play the part of Lady Macbeth to Ava's Macbeth in We Players' upcoming production. Ann would not only play one of the two major roles in the play, but she would also be there for Ava to help with various aspects of putting it all together, including casting. It was somewhere in this time that the decision was made for this to be an all female-identifying and non-binary cast. We Players is run and was founded by women, but they hadn't done a production with a cast like this before. It was 2024, before the election. It just felt right. Ann and Ava talk about the themes of Macbeth and how they relate to the current times we're in, no matter who we are. Ava touches on how important it is for her to foster a caring, kind, nurturing environment among her cast members, and how poignant that is for such a violent play like Macbeth. Then we pivot to talk about how times have changed, 10 years removed from the last time they did this at Fort Point, and how they have not. Ava also describes what it's like inside of Fort Point, something we in San Francisco might not all know about. One point they want to emphasize for anyone who comes to see their show—it's cold as hell, even by SF standards. We Players' production of Macbeth at Fort Point opens on April 11 and runs through May 18. All shows start at 6 p.m., Thursday through Sunday (with a few exceptions), rain or wind (duh) or shine. Tiered tickets (for equitable access) are available at the We Players website. We recorded this episode in the Gramercy Towers in March 2025. Photography by Jeff Hunt

On his mom's side, Woody LaBounty's San Francisco roots go back to 1850. In Part 1, get to know Woody, who, today, is the president and CEO of SF Heritage. But he's so, so much more than that. He begins by tracing his lineage back to the early days of the Gold Rush. His maternal great-great-great-grandfather arrived here mid-Nineteenth Century. Woody even knows what ship he was on and the exact day that it arrived in the recently christened city of San Francisco. On Woody's dad's side, the roots are about 100 years younger than that. His father grew up in Fort Worth, Texas (like I did). His dad's mom was single and fell on hard times in Texas. She came to San Francisco, where she had a step-brother. Woody's parents met at the Donut Bowl at 10th Avenue and Geary Boulevard (where Boudin Bakery is today). Donut Bowl was a combination donut shop/hot dog joint. At the time the two met, his dad worked as a cook there and his mom was in high school. His mom and her friends went to nearby Washington High and would hang out at the donut shop after school. The next year or so, his parents had their first kid—Woody. They came from different sides of the track, as it were. Woody's mom's family wasn't crazy about her dating his working-class dad, who didn't finish high school. But once his mom became pregnant with Woody, everything changed. The couple had two more sons after Woody. One of his brothers played for the 49ers in the Nineties and lives in Oregon today. His other brother works with underserved high school kids in New Jersey, helping them get into college. Woody shares some impressions of his first 10 years or so of life by describing The City in the mid-Seventies. Yes, kids played in the streets and rode Muni to Candlestick Park and The Tenderloin to go bowling. It was also the era of Patty Hearst and the SLA, Jonestown, and the Moscone/Milk murders. But for 10-year-old Woody, it was home. It felt safe, like a village. Because I'm a dork, I ask Woody to share his memories of when Star Wars came out. Obliging me, he goes on a sidebar about how the cinematic phenomenon came into his world in San Francisco. He did, in fact, see Star Wars in its first run at the Coronet. He attended Sacred Heart on Cathedral Hill when it was an all-boys high school. He grew up Catholic, although you didn't have to be to go to one of SF's three Catholic boys' high schools. Woody describes, in broad terms, the types of families that sent their boys to the three schools. Sacred Heart was generally for kids of working-class folks. After school, if they didn't take Muni back home to the Richmond District, Woody and his friends might head over to Fisherman's Wharf to play early era video games. Or, most likely, they'd head over to any number of high schools to talk to girls. Because parental supervision was lacking, let's say, Woody and his buddies also frequently went to several 18+ and 21+ spots. The I-Beam in the Haight, The Triangle in the Marina, The Pierce Street Annex, Enrico's in North Beach, Mabuhay Gardens. There, he saw bands like The Tubes and The Dead Kennedy's, although punk wasn't really his thing. Woody was more into jazz, RnB, and late-disco. We chat a little about café culture in San Francisco, something that didn't really exist until the Eighties. To this day, Woody still spends his Friday mornings at Simple Pleasures Cafe. And we end Part 1 with Woody's brief time at UC Berkeley (one year) and the real reason he even bothered to try college. Check back next week for Part 2 with Woody LaBounty. And this Thursday, look for a bonus episode all about We Players and their upcoming production of Macbeth at Fort Point. We recorded this episode in Mountain Lake Park in March 2025. Photography by Jeff Hunt

It's episode 216 and we are lurching back to the north east, to Zululand. The heat is building up, and the conflicted relationship between King Mpande kaSenzanghakhona and his son, Cetshwayo kaMpande, is growing more complex by the minute. But this being Zululand, that wasn't the only competition in town. There was an older son of Mpande, called Hamu, who was his first-born son by Nozibhuku, who in turn was the daughter of the much respected chief Sothondose of the Nxumalo people. If we turn our thoughts to the succession process of the AmaZulu which has always been a tricky trail, this episode will serve to illuminate the razor-sharp line royal heirs must walk. Sothondose you see was Mbuyazi's brother. And if you recall, Mbuyazi was the man who had been killed along with seven of his brothers and half brothers at the Battle of Nondokasuka by Cetshwayo. King Mpande had publicly referred to Mbuyazi as his heir apparent, and Cetshwayo thought he was a better candidate. The plot thickens. It more than thickens, it congeals like thick red blood, spattered many times this episode. There is a Shakespearian correlation between his epic tales and those of the AmaZulu, where both are interlaced with human truths. This week's tale is a mist-mash of Macbeth, Richard the third, Henry the Sixth Part three. Perhaps you could include others, but let's leave it at that for now. IN Zululand, Mpande was king and he was apt to change his mind about his heir apparent. Cetshwayo had worked himself into the position by dint of killing Mbuyazi, and had begun to refer to Mpande as ixegwana, little-old man. Or Oomie which is why calling some middle-aged men Oomie can get you into trouble. Hamu kaMpande was an insidious man, a persevering leader who wriggled about, an indulgent man according to oral tradition as well as the written descriptions we have of him. Flabby, with the immense thighs of the house of Senzangakhona. Hamu led the Ngenetsheni clan, and had supported Cetshwayo during the recent Civil War, where Mbuyazi had been defeated. That was the case even though his grandfather, Sothondose, was Mbuyazi's brother. In other words Hamu fought against his Great Uncle. Blood, it seems, isn't thicker than water—unless it's pooling in a cauldron of treachery and Macbethian dread. Hamu also resented his bad luck, descended from Nzibe who ranked behind Mpande's other sons. He liked to show off his bling so to speak, and gathered a massive isigodlo of women, 300 in all, and bragged about being quasi-independent of Mpande. Cetshwayo kept a beady eye on these two, and there were confrontations with them, one took place in 1857. But nothing was resolved. Initially, Mbuyazi's remaining brothers turned out to be more of a threat than Hamu and Maphitha, and this is where the Shakespearian blood letting began in earnest. Cetshwayo wanted to kill Mbuyazi's thirteen year old brother Mkhungo. Someone tipped off the teen that the death squad was on its way and he fled to safety in Natal across the Thukela River. Other members of his direct family were already seeling refuge there, his mom Monase and Sikhotha his half-brother. shake

It's episode 216 and we are lurching back to the north east, to Zululand. The heat is building up, and the conflicted relationship between King Mpande kaSenzanghakhona and his son, Cetshwayo kaMpande, is growing more complex by the minute. But this being Zululand, that wasn't the only competition in town. There was an older son of Mpande, called Hamu, who was his first-born son by Nozibhuku, who in turn was the daughter of the much respected chief Sothondose of the Nxumalo people. If we turn our thoughts to the succession process of the AmaZulu which has always been a tricky trail, this episode will serve to illuminate the razor-sharp line royal heirs must walk. Sothondose you see was Mbuyazi's brother. And if you recall, Mbuyazi was the man who had been killed along with seven of his brothers and half brothers at the Battle of Nondokasuka by Cetshwayo. King Mpande had publicly referred to Mbuyazi as his heir apparent, and Cetshwayo thought he was a better candidate. The plot thickens. It more than thickens, it congeals like thick red blood, spattered many times this episode. There is a Shakespearian correlation between his epic tales and those of the AmaZulu, where both are interlaced with human truths. This week's tale is a mist-mash of Macbeth, Richard the third, Henry the Sixth Part three. Perhaps you could include others, but let's leave it at that for now. IN Zululand, Mpande was king and he was apt to change his mind about his heir apparent. Cetshwayo had worked himself into the position by dint of killing Mbuyazi, and had begun to refer to Mpande as ixegwana, little-old man. Or Oomie which is why calling some middle-aged men Oomie can get you into trouble. Hamu kaMpande was an insidious man, a persevering leader who wriggled about, an indulgent man according to oral tradition as well as the written descriptions we have of him. Flabby, with the immense thighs of the house of Senzangakhona. Hamu led the Ngenetsheni clan, and had supported Cetshwayo during the recent Civil War, where Mbuyazi had been defeated. That was the case even though his grandfather, Sothondose, was Mbuyazi's brother. In other words Hamu fought against his Great Uncle. Blood, it seems, isn't thicker than water—unless it's pooling in a cauldron of treachery and Macbethian dread. Hamu also resented his bad luck, descended from Nzibe who ranked behind Mpande's other sons. He liked to show off his bling so to speak, and gathered a massive isigodlo of women, 300 in all, and bragged about being quasi-independent of Mpande. Cetshwayo kept a beady eye on these two, and there were confrontations with them, one took place in 1857. But nothing was resolved. Initially, Mbuyazi's remaining brothers turned out to be more of a threat than Hamu and Maphitha, and this is where the Shakespearian blood letting began in earnest. Cetshwayo wanted to kill Mbuyazi's thirteen year old brother Mkhungo. Someone tipped off the teen that the death squad was on its way and he fled to safety in Natal across the Thukela River. Other members of his direct family were already seeling refuge there, his mom Monase and Sikhotha his half-brother. shake

Cody LaDuke joins the show to talk about the life and career of Roman Polanski. Part one covers Polanski's childhood in Poland, Rosemary's Baby (1968), the murder of wife Sharon Tate, all the way up to Chinatown (1974). Part 2 will come out later this week. Follow Cody LaDuke on X x.com/cladu33 Rare Candy Premium Episodes available here (40% off until 03/31/25) rarecandy.substack.com/ Follow Rare Candy on all platforms beacons.ai/rarecandy Timestamps 00:00 Intro 06:10 Polanski in The Holocaust 16:25 Polanski living under Communism 28:48 Knife in the Water (1962) 37:20 Repulsion (1965) 46:19 First Marriage 52:42 Rosemary's Baby (1968) 01:16:29 Murder of Sharon Tate 01:34:21 Macbeth (1971) 01:40:42 Chinatown (1974)

Rachel PeakeOriginally hailing from Saskatchewan, Rachel is a director and dramaturge of theatre and opera. She is currently the Artistic Director of the Grand Theatre in London, Ontario.​From 2021 to 2023 Rachel was the Associate Artistic Director of the Arts Club Theatre Company in Vancouver. There she oversaw the running of the Artistic Department from 2021-2022 during the Artistic Director's maternity leave. From 2017 to 2020 she was the Associate Artistic Director of the Citadel Theatre in Edmonton, where she led the Citadel's New Play Development initiatives. In January 2023 she won the Ovation Award for Outstanding Direction for her work on Something Rotten!, produced by Theatre Under the Stars.​Rachel recently directed Macbeth for Calgary Opera (Betty Mitchell Award nominee - Outstanding Production of a Musical) , Sense and Sensibility for the Arts Club, 9 to 5: the Musical for the Citadel Theatre, Something Rotten! for Theatre Under the Stars, and The Pearl Fishers for Vancouver Opera. Rachel directed and dramaturged Hyperlink for the elbow, which was nominated for a Critic's Choice in Innovation. Recent directorial credits also include The Garneau Block for the Citadel, La Cenerentola for Vancouver Opera, and Phaedra/ Serenade for Pacific Opera Victoria.​Some additional career highlights include directing and dramaturging the world première opera, Stickboy, for Vancouver Opera; directing the première of The Contest of the Winds for Caravan Farm Theatre; helming SexyVoices, a community-based creation piece about love and sex in the disability community for Realwheels Theatre; directing Angels in America: Part One at Studio 58, and directing and co-conceiving the interactive project Sustainability in an Imaginary World at UBC.​Rachel was the co-Artistic Director of Solo Collective Theatre from 2008-2013 for whom she directed Cool Beans, Play With Monsters, After Jerusalem, The Project, and The Trolley Car.  She also spent four years as Resident Stage Director of Dark by Five at Gros Morne Summer Music where she directed and co-created fifteen new interdisciplinary works. ​Rachel interned at the Komische Oper in Berlin, at Stratford's Michael Langham Workshop for Classical Direction, and in the Shaw Festival's Neil Munro Directing Internship. She also studied extensively with her mentor, James Fagan Tait. Rachel is a graduate of the University of Alberta and Studio 58.Grand TheatreThe Grand Theatre is known for world-class theatre created and built in London, Ontario. As southwestern Ontario's premiere producing theatre and one of the most beautiful theatre spaces in Canada, the company has deep ties to the community and to its artists, artisans, and technicians. As a vibrant cultural hub and not-for-profit professional theatre, the Grand serves to gather, inspire, and entertain audiences in London and beyond. At our home in downtown London, we create productions on two stages: the Spriet Stage (839 seats) and the Auburn Developments Stage (144 seats). The Grand season of theatrical offerings runs from September to May, and we collaborate with companies and artists across the country through our co-productions that see London-made artistic and creative work travel to audiences nation-wide. Through our successful New Play Development Program, the Grand is committed to developing and premiering new, original works and supporting the growth and reach of theatre writers and creators. Our recently renovated venue offers a contemporary and welcoming environment that is also home to several successful music series', community arts rentals, and cultural and special events. 

Dan Corder is joined by Producer Jake Maisel to unpack the wild, witty, and weed-infused world of Baked Shakespeare: The Tragedy of Macbeth. Now in its 5th season, Baked Shakespeare has taken South Africa - and international stages - by storm, blending classic Shakespeare with cannabis-fuelled chaos. They finish their run at The Masque Theatre on the 28, 29 and 30th March and then will head to The Courtyard Café in Stellenbosch on the 12th,13th & 25th and 26th of April. Tickets Available via Quicket!See omnystudio.com/listener for privacy information.

In Shakespeare's play, Macbeth, there's a famous banquet scene, with a huge food spread and of course, a few ghosts because what's a party without a few spectres, right? This scene is fictional, but it is based on a real historical person, the real King Macbeth of Scotland, and holding banquets in a castle absolutely happened. Here today to share with us what foods would have been eaten at the real banquet of the actual Macbeth is historical chef, and host of Tasting History on YouTube, Max Miller.  Get bonus episodes on Patreon Hosted on Acast. See acast.com/privacy for more information.

Reading isn't enough. People love to say that books make you smarter, but that's only true if you do something with what you read. In this episode, I'll talk about how to read for knowledge in a way that actually improves your life. I'll also share some key decisions I've made as a reader to sharpen my understanding, including lessons from my study of Macbeth.Interested in joining us for book club?  Visit: https://thereadwellpodcast.com/book-club/Send Me a Text Message with Your QuestionsIMPORTANT LINKS:

When two actors in separate productions of MacBeth clash in the streets, well, they... clash!

Welcome to season SEVEN of our podcast!Everybody knows Shakespeare.  However, perhaps not as well known to most is that beneath the surface, much of Shakespeare's work surrounds ideas of gender and queerness. Many of the plays are concerned with cross-dressing, gender fluidity, and same-sex friendships that many scholars have interpreted to be much more. Drawing inspiration from homoerotic writers and subject matter of the time, We can assume that Shakespeare knew his audience were sexually diverse. The question remains, was he or wasn't he? The answer is more complicated than you think.Today we welcome, Will Tosh, head of research at Shakespeare's Globe, London. Will is a scholar of early modern literature and culture, a dramaturg for Renaissance classics and new plays and an historical adviser for television and radio.He is here to talk about his latest book, STRAIGHT ACTING: THE MANY QUEER LIVES OF WILLIAM SHAKESPEARE, released by Sceptre Publishing.And let me introduce our new guest host, Neil Cameron.A RADA trained actor, Neil is no stranger to Shakespeare.His stage credits include Hamlet in Hamlet, and more recently featured in Macbeth at the Sam Wanamaker Playhouse.Find Will:https://www.shakespearesglobe.com/bio/dr-will-tosh/Will & Will:https://shop.shakespearesglobe.com/blogs/books-of-the-globe/straight-acting-the-many-queer-lives-of-william-shakespeare-by-will-tosh-book-reviewhttps://www.historytoday.com/archive/review/straight-acting-will-tosh-reviewhttps://literaryreview.co.uk/in-search-of-the-fair-youthhttps://www.anothermag.com/design-living/15762/will-tosh-interview-straight-acting-the-many-queer-lives-of-william-shakespeareFind Straight Acting:https://www.hachette.co.uk/titles/will-tosh/straight-acting/9781529390490/ (UK)https://www.waterstones.com/book/straight-acting/will-tosh/9781529390476 (UK)https://shop.shakespearesglobe.com/products/straight-acting (UK)https://www.amazon.com/Straight-Acting-Hidden-William-Shakespeare/dp/1541602676 (USA)https://www.hachette.com.au/will-tosh/straight-acting-the-many-queer-lives-of-william-shakespeare (AUS)https://www.hachette.co.nz/book/?id=straight-acting-9781529390483 (NZ)For more history fodder please visit https://www.ifitaintbaroquepodcast.art/ and https://www.reignoflondon.com/Find more Shakespeare on Natalie's walking tours with Reign of London: https://www.getyourguide.com/london-l57/london-the-royal-british-kings-and-queens-walking-tour-t426011 https://www.getyourguide.com/london-l57/london-unsavory-history-guided-walking-tour-t428452 Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Joseph Pearce is an educator, essayist, and author of over two dozen books. I reached out to Joseph because I wanted to learn more about the great Irish playwright and wit, Oscar Wilde, about whom he has written extensively. Joseph's excellent biography of Wilde, “Unmasking Oscar Wilde” is linked below. Using Wilde as a springboard, Joseph and I leapt into a variety of topics, including:The different forms of Tragedy: Pagan v. Christian; Oedipus; Macbeth; Shakespeare's religion; Catholicism; GK Chesterton; Oscar Wilde; How one develops a sense of wonder; Art for whose sake?; Self-destructive spirals; God; Transcendentalism; Walking; Henry David Thoreau; And much more! I hope that you enjoy this episode. A link to Joseph's website, on which you'll find an abundance of beautifully-composed, thoughtful essays: https://jpearce.co/Do consider joining his “Inner Sanctum” membership bloc, through which you'll be given access to even more content. Book: “Unmasking Oscar Wilde” - https://ignatius.com/the-unmasking-of-oscar-wilde-uowp/Links to my stuff: My Instagram page, on which I post shorts from this and prior episodes: Instagram: @danielethanfinneran https://www.instagram.com/danielethanfinneran/X: @DanielEFinneranMessage me on X, or send an email to daniel.ethan.finneran@gmail.com (especially if you have someone I can interview in mind!) My sister project, PNEUMA, on which I put out sleep stories, meditations, and mindfulness content. Search “Pneuma meditations” on any podcast streaming platform. If you enjoy these conversations, please share them with family and friends! Thank you. 

Transcript: rmad.ac/AIAe070Gaelynn won NPR's Tiny Desk Contest in 2016. Since then, she has captivated audience around the world with her haunting original songs and traditional fiddle tunes. Over the years, she has collaborated and performed with many notable artists such as Michael Stipe from REM, The Decemberists, Wilco, Lowe, and the industrial rock supergroup Pigface. In early 2022, Gaelynn composed and performed the music for Macbeth on Broadway, which starred Daniel Craig. The following year, she wrote a musical fable for the stage called Invisible Fences with the disabled author and playwright Kevin Kling.Music aside, Gaelynn Lea is a sought-after public speaker and disability advocate around the topics of disability culture, inclusion, and accessibility in the arts. In 2021, she co-founded the organization Recording Artists and Music Professionals with Disabilities with fellow artist-activist Lachi. In 2024, she was awarded both the Disability Futures Fellowship and the Whippoorwill Arts Fellowship for her music and disability advocacy. She is currently finishing up her debut book due out in 2026. Linger in the Sun will be a love letter to everybody, a warm, funny, and deeply felt memoir about disability, music, and the messy creativity of an artist's life.Connect with Gaelynn Lea:GAELYNN LEA – Musician & Public SpeakerCreative Living for Every Body with Gaelynn Lea | Substack"I Wait" by Gaelynn LeaJudith Heumann's Fight for Disability Rights (feat. Ali Stroker) - Drunk HistoryConnect with the Rocky Mountain ADA Center at RockyMountainADA.org or find us on social media. Don't forget to subscribe, rate and review us on Apple Podcasts, Stitcher, Spotify, or anywhere else you get your podcasts!

Steve is an Actor and Storyteller living in Chicago, IL. He's worked with several theatre companies in Chicago, most notably with Shattered Globe, The Mercury, and First Folio. He toured seven times with Montana Shakespeare in the Parks and is currently understudying Macbeth at Invictus Theatre. If you didn't see him go on two days ago, then you blew it, that was his one guaranteed performance. As a storyteller, Steve has been a repeat performer at Writer's Theatre's "Show and Tell" series, at The Gift Theatre's first annual "CampFire Stories", and has been featured on "The Moth Radio Hour," having won two Moth StorySlams and one Moth GrandSlam at the Athenaeum Theatre here in Chicago. The First Time is a live lit and music series recorded at Martyrs in Chicago's North Center neighborhood. Each reader tells a true first tale, followed by any cover of the storyteller's choosing, performed by our house band, The First Time Three. The First Time is hosted by Jenn Sodini. Production by Andy Vasoyan and Executive Producer Bobby Evers. Podcast produced by Andy Vasoyan. Recorded by Tony Baker.

If you're enjoying the Hardcore Literature Show, there are two ways you can show your support and ensure it continues: 1. Please leave a quick review on iTunes. 2. Join in the fun over at the Hardcore Literature Book Club: patreon.com/hardcoreliterature Thank you so much. Happy listening and reading! - Benjamin  

The British bass-baritone Norman Bailey (23 March 1933 – 15 September 2021) was one of the premier Wagner singers of his generation, appearing in his signature roles (Hans Sachs, the Dutchman, and Wotan, among others) at the most prestigious festival and with the most distinguished opera companies around the world. He was also celebrated for his Verdi and Strauss portrayals and was an skillful, intuitive, and communicative recitalist. In this refurbished bonus episode, he is heard in operatic scenes by all three of those composers, and additionally as a big-voiced miniaturist in songs by Peter Warlock, Ralph Vaughan Williams, and Hugo Wolf. “Guest stars” in the operatic excerpts (from Walküre, Macbeth, Holländer, Salome, Falstaff, Die Liebe der Danae, and The Mastersingers of Nuremberg) include Galina Vishnevskaya, Margaret Curphey, Carol Neblett, Arlene Saunders, and Montserrat Caballé, conducted by Otto Klemperer, Julius Rudel, Alexander Gibson, Anton Guadagno, Reginald Goodall, and Charles Mackerras. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly or yearly support at whatever level you can afford.

Check out Cam's latest novel / audio drama here! What is the effect of the near constant mirage of George R. R. Martin killing off his protagonist? In this episode we examine this question from both the readers' and the characters' perspectives. Maggie zooms into Sansa's disillusionment and disassociation to find her skills of adaptation developing in the margins. Cam realizes that all the heads on spikes are a violent cherry on top of this novel's endless meditations on Macbeth. LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com

Waweru says models aren't beautiful, Liam claims that Macbeth is bullshit, and we wonder about the right age to become a cult leaderReseune Educational Publications: Approved for 80+  Discussion of the emotional abuse and manipulation of childrenRemember to subscribe in your preferred podcasting portal and Support the show. Next week we're discussing chapter 9 sections 7 through 9, including the tape recordingSupport the show

In this episode, sound-designer Eddie Bazil looks at ways of enhancing a variety of individual tracks and full mixes using plug-ins that are designed to achieve the retro warmth and cohesion of tapes and valves.Chapters00:00 - Introduction01:32 - What Is Harmonic Distortion02:32 - Advances In Music Production Quality04:47 - The Introduction Of CD05:59 - Triodes And Pentodes Vacuum Tubes06:47 - Analysing Harmonic Content07:56 - Example 1: TR-808 Sub Bass10:35 - Example 2: Affecting A Whole Mix*12:39 - Example 3: Adding Saturation15:07 - The Benefits Of Tape17:26 - Example 4: Applying Tape Effects To A Bassline*20:59 - Example 5: Adding Tape To Beats23:47 - Example 6: Enhancing A Piano Track26:56 - Summary* Demonstration track ‘Puppet' (Examples 2 and 4), written, performed and recorded by John Walden. Vocals sung by Yvonne McKeown.#voxengospan #SummitAudio #T-RackS #Kraftur #Aphex #SSLEddie Bazil BiogEddie Bazil launched his music industry career at the age of 17 as a synth programmer for a range of Electro / New Wave bands including Art of Noise, Spandau Ballet, Pet Shop Boys, Bobin, Paul Dee, DJ Krush, DJ Shadow, Jets Orchestra. By his 20s he was working as a sound designer for Akai, Roland Emu/Ensoniq, eventually signing on exclusively with the latter. Later, due to a growing demand for software instruments and libraries, Eddie started to develop libraries for various software manufacturers, including Native Instruments, Kiesel, Sound Effects Library, Arturia and Propellerheads. A meeting with Phil Allen, a Capital Radio DJ, resulted in the company Samplecraze, which Eddie has spent 20 years developing as an educational resource. At this time he trained in music production and soon gained a number of prominent contracts working with some notable artistes such as Busta Rhymes, Greensleeves, 9 Bar, SFP, Sleeveless, Chris Campbell and Gam Productions. He contracted to Island Records and Chrysalis as a producer and remixer,  plus was commissioned to write the score for Macbeth that ran at 2 Way Mirror at Alexander Palace for the Cambridge Shakespeare Company. His ongoing development of Samplecraze has led to him offering educational workshops and classes, releasing four books via PC Publishing and becoming a contributor and forum moderator for Sound On Sound. Recently he has established The Audio Production Hub for online education and been invited by the Recording Academy to become a Grammy judge.https://eddiebazil.co.uk/https://samplecraze.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts

What happens when history, activism, and theater collide? The producers of The Return of Benjamin Lay break it down. What happens when a story refuses to be forgotten? The Return of Benjamin Lay isn't just a play—it's a powerful lesson in courage, creativity, and using your voice for change. In this episode of Your Creative Mind, I sit down with the producers of the production coming to The Sheen Center this March to talk about bringing this revolutionary abolitionist's story to the stage. You'll hear how bold storytelling can challenge the status quo, why creative work has the power to shift perspectives, and what you can do to make your own impact. If you're a storyteller, entrepreneur, or changemaker, this episode is for you. And if you can, go see the show at The Sheen Center, March 14 – April 6, 2025—it's one you won't forget. JOSEPH W. RODRIGUEZ is an actor, writer, and Producing Artistic Director of Playhouse Creatures (where he has produced over thirty plays). For PCTC: STILL LIFE (with Ancram Opera House), EXECUTION OF JUSTICE, The Two-Character Play ( 2017 New York/ The Duo Theatre), New Orleans (2018 Southern Rep); Mrs. Packard (with Bridge Rep), One Flea Spare, More Stars Then There Are In Heaven, Hunter/ Gatherers, Charlotte The Destroyer, Love Song, 6xTenn, Closer, The Libertine (The Kirk, Theatre Row), and The Libertine (with Bridge Rep – IRNE Nomination, Best Actor). Other NYC: Buffalo Hair with Jeffrey Wright (The Public Theater); The Normal Heart with Bobby Cannavale (The Duo Theatre); Richard III with Austin Pendleton, Macbeth – title role (New Perspectives); Linnehan's Daughter (Naked Angels); Landscape of the Body, Hurlyburly (T. Schreiber Studios); Innocent Erendira – world premiere with Miriam Colon (Repertorio Espanol). Regional: Hamlet with Mark Rylance, King Lear with F. Murray Abraham (A.R.T.); Iphigenia (The Huntington); Children of the Sun (The Kennedy Center); A Streetcar Named Desire, American Buffalo, Safe Sex, A Christmas Carol (The New Ehrlich Boston); Vieux Carre, Breaking the Code – Best Supporting Actor, Boston Herald (The Triangle Theatre); The Boys Next Door with Lance Reddick (Worcester Forum Theatre). TV/ FILM: Glory, The Opposite of Sex, Desolation Angels, Against the Law, Guiding Light, As the World Turns, Another World, the titular character in Sci-Fi Channel's Cameron Grant. He is a proud member of AEA and SAG-AFTRA.    ARSALAN SATTARI PRODUCTIONS: Since 2012 Arsalan Sattari Productions has commissioned, developed, licensed, and produced shows by world-class artists, to critical acclaim and commercial success, within the London fringe, West End, and festivals. They are interested in new writing, UK and European premieres, historical plays and characters rarely portrayed on stage. They are proud to have built a reputation of producing top acclaimed American playwrights in the UK. Arsalan is an Honorary Associate Producer at the multi-award winning Finborough Theatre, London, and Creative Director and CEO of StageBlock, working with some of the most renowned talents and global institutions to bring performing arts into the wider art market.  Learn more and get tickets. https://playhousecreatures.org/events/the-return-of-benjamin-lay/ https://www.sheencenter.org/events/detail/the-return-of-benjamin-lay   Connect with Izolda Website: https://IzoldaT.com BlueSky: https://bsky.app/profile/izoldat.bsky.social. Book Your Discovery Call: https://calendly.com/izoldat/discovery-call New Play Exchange: https://newplayexchange.org/users/90481/izolda-trakhtenberg Submit a Play to the Your Creative Table Read Podcast Series One Minute Movies A Close Shave Career Suicide Diz Wit   Flip Your Inner Script to Stop Negative Thoughts From Ruining Your Day.   This episode is brought to you by Brain.fm. I love and use brain.fm! It combines music and neuroscience to help me focus, meditate, and even sleep! Because you listen to this show, you can get a free trial and 20% off with this exclusive coupon code: innovativemindset. (affiliate link) URL: https://brain.fm/innovativemindset It's also brought to you by my podcast host, Podbean! I love how simple Podbean is to use. If you've been thinking of starting your own podcast, Podbean is the way to go!** Are you getting anything out of the show? I'd love it if you would buy me a coffee.   Listen on These Channels Apple Podcasts | Spotify | Stitcher | Podbean | MyTuner | iHeart Radio | TuneIn | Deezer | Overcast | PodChaser | Listen Notes | Player FM | Podcast Addict | Podcast Republic |

Send your questions or provocations to Adam or Budi here!In this episode, Adam and Budi continue our Grad School Series with Chair of Graduate Acting at NYU Tisch, Carl Cofield. Carl Cofield is the Chair of Graduate Acting at NYU Tisch and has served as the Associate Artistic Director of the Classical Theatre of Harlem since 2018. CTH directing credits include A Midsummer Night's Dream, Twelfth Night, Seize the King, The Bacchae, Antigone, Macbeth, The Tempest, and Dutchman. He also directed  The XIXth (The Nineteenth) at the Old Globe Theatre as well as the world premiere of Kemp Powers' One Night in Miami for Rogue Machine Theater in Los Angeles, and later iterations at Miami New Drama and Denver Center. Other directing venues include Oregon Shakespeare Festival, McCarter Theatre, and Yale Repertory. He has served on faculty at Yale School of Drama, Columbia School of the Arts, Manhattan School of Music, and the New School. Education: MFA in Directing from Columbia University.Support the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: (Intro) Jack Burmeister, (Outro) https://www.purple-planet.comAdditional compositions by @jack_burmeister

MDJ Script/ Top Stories for March 7th Publish Date:  March 7th    Commercial: From the BG AD Group Studio, Welcome to the Marietta Daily Journal Podcast.    Today is Friday, March 7th and Happy Birthday to Bryan Cranston ***03.07.25 - BIRTHDAY – BRIAN CRANSTON*** I’m Keith Ippolito and here are the stories Cobb is talking about, presented by Times Journal Cobb Drug Task Force Seizes $261K, Drugs, Guns in Bust Construction on New Austell Park Begins Next Week Kennesaw Greenlights $13.9M Public Safety Building Plus, Leah McGrath from Ingles Markets on cooking for picky toddlers All of this and more is coming up on the Marietta Daily Journal Podcast, and if you are looking for community news, we encourage you to listen and subscribe!  BREAK: Ingles Markets 6 STORY 1: Cobb Drug Task Force Seizes $261K, Drugs, Guns in Bust The Marietta Cobb Smyrna Narcotics Task Force seized over $261,000 in cash, 867 grams of heroin, 39 grams of cocaine, five grams of fentanyl, marijuana, and five firearms in a major drug bust this week. The operation stemmed from a traffic stop and search warrant. The task force, a multi-agency group formed in 1980, investigates narcotics activity across Cobb County. Officials praised the collaboration for enhancing community safety. The investigation is ongoing, with no details about suspects released yet. STORY 2: Construction on New Austell Park Begins Next Week Construction begins next week on Austell's new Jefferson Street Park, a 10,000-square-foot greenspace replacing part of a strip mall parking lot downtown. The $250,000-$300,000 project will feature a pavilion, fire pit, cornhole area, community stage, and updated parking with sidewalks and landscaping. Funded by grants and sponsorships, the park aims to host events like seasonal markets and the city's annual Christmas tree lighting. Part of Austell's Downtown Livable Center Initiative, the project is set to finish by November, with a ribbon-cutting and holiday celebration planned for December. STORY 3: Kennesaw Greenlights $13.9M Public Safety Building The Kennesaw City Council approved a $13.9 million contract to build a new 25,000-square-foot police headquarters on Moon Station Road, addressing overcrowding at the current facility. Funded by SPLOST, stormwater reserves, and ARPA, the building will also house 911 staff and emergency operations. Construction, managed by Gay Construction, is expected to take 15 months. The council also approved a $282,900 contract with Patterson & Dewar Engineers for construction oversight, funded by SPLOST. Additional approvals included funding for sidewalks in Woodland Acres, stormwater pipe purchases, and a $127,750 contract for the 2025 Concert Series. We have opportunities for sponsors to get great engagement on these shows. Call 770.799.6810 for more info.  Break: INGLES 7 STORY 4: Large-Screen TVs, Lockers, Landscaping Upgrades Coming to The Battery The Battery Atlanta is getting a series of upgrades ahead of the 2025 MLB All-Star Game at Truist Park. Enhancements include updated LED screens, expanded restrooms, new seating, interactive digital directories with emergency call buttons, redesigned landscaping, and updated walkways. Large TVs will be installed above Shake Shack and Good Game restaurants, ensuring fans can watch games. Additional updates include new seating and drink rails at Heritage Court and Battery Avenue, plus secure Binbox Lockers for personal items. While The Battery remains open during construction, temporary disruptions are expected. STORY 5: OUT AND ABOUT: 5 Things to Do This Weekend in Cobb County — March 7 - 9 This weekend in Cobb County offers a variety of events: - Atlanta Opera's "Macbeth" at Cobb Energy Centre, starring Michael Mayes and Sara Gartland, with showtimes Friday at 8 p.m. and Sunday at 3 p.m. Tickets start at $52. - Atlanta Home Show at Cobb Galleria Centre, featuring 175+ booths of home improvement ideas, running Friday through Sunday. General admission is $11. - "The Last Five Years" at the Strand Theatre, a two-person musical running Friday through Sunday at 8 p.m. Tickets start at $35. - Bubbles & Brews Craft Beverage Month, with tastings, live music, and prizes at local breweries all weekend. - "A Comedy of Errors" at the Strand Theatre, with its final show Friday at 7:30 and 9:30 p.m. Tickets are $30 (21+ only). Break: And now here is Leah McGrath from Ingles Markets on cooking for picky toddlers *** INGLES 1 (PICKY TODDLER) *** We’ll have closing comments after this. Break: Ingles Markets 8 Signoff-   Thanks again for hanging out with us on today’s Marietta Daily Journal Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at mdjonline.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network Show Sponsors: www.ingles-markets.com #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations See omnystudio.com/listener for privacy information.

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When Emily Nussbaum introduced Alan Cumming at the New Yorker Festival, she said, “Plenty of actors light up a room, but Alan Cumming is more of a disco ball—reflecting every possible angle of show business.” Cumming appears in mainstream dramas such as “The Good Wife,” and also more indie projects like his one-man version of “Macbeth”; his performances in musicals such as “Cabaret” are legendary. He also owns a nightclub; his memoir “Not My Father's Son” was a bestseller, and so on. And Cumming plays the host on the Emmy-winning reality show “The Traitors.” He combines “a dandy Scottish laird—sort of James Bond villain, sort of eccentric, old-fashioned nut who has this big castle.” Spoiler alert: “It's supposed to be my castle. It's not.” Nussbaum asks about his perspective on reality TV before he started on “Traitors.” “Zero, really,” Cumming confesses. “I was a bit judgy. … The thing I don't like about a lot of those shows is that they laud and therefore encourage bad behavior and lack of kindness.” Before “The Traitors,” Cumming's first brush with reality television was on “Who Do You Think You Are?,” a BBC genealogy program that confronted him with shocking secrets about his own family. “It made a good memoir, I suppose,” he jokes. “Just how awful that was. It was awful. But no, I don't regret it.”

In this week's episode Greg and Patrick shine a flashlight on correspondence analysis and find that this is an extraordinarily cool yet often neglected method similar to factor analysis but applied to nominal contingency tables. Along the way they also discuss online personality tests, marital therapy, modern antibiotics, the Newlywed Game, grand slams, the advantages of being flexible, disrespecting nominal variables, formally apologizing to linguists, Winnie the Pooh, VH1's Pop-Up Video, the witches of Macbeth, Wait Wait Don't Tell Me, and the downsides of Novocaine. Stay in contact with Quantitude! Web page: quantitudepod.org TwitterX: @quantitudepod YouTube: @quantitudepod Merch: redbubble.com

Akira Kurosawa brought Macbeth to feudal Japan with his masterpiece, Throne of Blood, while Glenn Ford & Van Heflin battled it out in the Wild West. Connect with us:Never Did It on Letterboxd: https://letterboxd.com/bradgaroon/list/never-did-it-podcast/Brad on Letterboxd: https://letterboxd.com/bradgaroon/Jake on Letterboxd: https://letterboxd.com/jake_ziegler/Never Did It on Facebook: https://www.facebook.com/neverdiditpodcast Hosted by Brad Garoon & Jake Ziegler

Ok! Alright! This time on The Mixed Reviews, we take a deep look into the career of perhaps our greatest living actor Denzel Washington! From Carbon Copy to Gladiator II, from Crimson Tide to The Equalizer, we trace his career from Mount Vernon New York, to stage and screen powerhouse! Check out our Patreon for an EXTENDED CUT of this episode, giving you more show and more movies! If you have any questions/comments/suggestions for the show, follow us on twitter @TheMixedReviews, like us on Facebook, e-mail us at reviewsmixed@gmail.com, visit our  Instagram or  TikTok for extra content, become a patron on our Patreon, or stop by our shop and pick up some podcast merchandise! Don't forget to subscribe to us on  iTunes, Spotify, Podchaser, Audible, or wherever you get podcasts!

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

Are you a fan of the theatre? Have you ever felt odd when watching Macbeth? Was the play really cursed by witches when Shakespeare wrote it? What do you think? Sourceshttps://www.rsc.org.uk/macbeth/about-the-play/the-scottish-playhttps://pashakespeare.org/press/the-curse-of-macbeth-the-scottish-play/https://pashakespeare.org/press/the-curse-of-macbeth-the-scottish-play/https://www.westlionsroar.com/arts/2016/02/11/the-curse-of-macbeth-2/https://www.history.com/news/why-do-actors-avoid-the-word-macbethhttps://en.wikipedia.org/wiki/Curse_of_Tippecanoehttps://dwoj.org/the-curse-of-tippecanoe/https://www.schooltube.com/the-curse-of-tippecanoe-fact-or-fiction/https://www.historicmysteries.com/history/curse-of-tippecanoe/24350/ Become a member at https://plus.acast.com/s/lattes-and-legends-1. Hosted on Acast. See acast.com/privacy for more information.

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

Steve MacBeth, a three-tour Afghan war veteran, offers a compelling, first-hand account of Canada's involvement in one of the most protracted and most complex conflicts of the 21st century. In his book No names no packdrill. Through vivid and unfiltered interviews with 150 frontline soldiers, this book captures the diverse experiences of those who served. These soldiers share their stories from the front lines of Afghanistan, detailing the challenges, sacrifices, and moments of camaraderie they encountered. The title, inspired by the military expression “no names, no pack drill”—intended to ensure lessons are learned from soldiers' experiences without identifying those involved—reflects the humility and quiet professionalism of the Canadian soldiers, who are culturally uncomfortable with recognition for their service.

Visit our Substack for bonus content and more: https://designbetterpodcast.com/p/gareth-hinds Graphic novels are experiencing something of a renaissance recently. As the medium has gained popularity, notable thinkers like Sapiens author Yuval Noah Harari and the late John Lewis have brought their stories to life beautifully in graphic novel form. Gareth Hinds has played a big role in shaping the medium. His graphic novel adaptations of The Iliad, The Odyssey, Macbeth, Beowulf, and King Lear have brought new readers and new perspectives to these classic tales. Count us in that group of his readers looking at these ancient stories differently. We speak with Gareth about his creative and editorial workflow, and how he turns challenging works from Shakespeare, Homer, and others into a graphic novel. We also talk about how his background in video game design influences his work, and how he chooses stories that lend themselves well to his style of illustration. Bio Gareth Hinds is the creator of critically-acclaimed graphic novels based on literary classics, including Beowulf (which Publisher's Weekly called a “mixed-media gem”), King Lear (which Booklist named one of the top 10 graphic novels for teens), The Merchant of Venice (which Kirkus called “the standard that all others will strive to meet” for Shakespeare adaptation), The Odyssey (which garnered four starred reviews and a spot on ten “best of 2010” lists), Romeo and Juliet (which Kirkus called “spellbinding”), and Macbeth (which the New York Times called “stellar” and “a remarkably faithful rendering”). Gareth is a recipient of the Boston Public Library's “Literary Lights for Children” award. His books can be found in bookstores and English classrooms across the country, and his illustrations have appeared in such diverse venues as the Society of Illustrators, the New York Historical Society, and over a dozen published video games. *** Premium Episodes on Design Better This ad-supported episode is available to everyone. If you'd like to hear it ad-free, upgrade to our premium subscription, where you'll get an additional 2 ad-free episodes per month (4 total). Premium subscribers also get access to the documentary Design Disruptors and our growing library of books, as well as our monthly AMAs with former guests, ad-free episodes, discounts and early access to workshops, and our monthly newsletter The Brief that compiles salient insights, quotes, readings, and creative processes uncovered in the show. Upgrade to paid *** Visiting the links below is one of the best ways to support our show: Masterclass: MasterClass is the only streaming platform where you can learn and grow with over 200+ of the world's best. People like Steph Curry, Paul Krugman, Malcolm Gladwell, Dianne Von Furstenberg, Margaret Atwood, Lavar Burton and so many more inspiring thinkers share their wisdom in a format that is easy to follow and can be streamed anywhere on a smartphone, computer, smart TV, or even in audio mode. MasterClass always has great offers during the holidays, sometimes up to as much as 50% off. Head over to http://masterclass.com/designbetter for the current offer. *** If you're interested in sponsoring the show, please contact us at: sponsors@thecuriositydepartment.com If you'd like to submit a guest idea, please contact us at: contact@thecuriositydepartment.com

What happens when Verdi's thrilling music collides with Shakespeare's most haunting thriller? In this episode, assistant director Elio Bucky shares five key insights into Macbeth—from its Shakespearean roots to Verdi's revisions, cutting-edge stagecraft, and the eerie superstitions surrounding the tale. Don't miss this deep dive into power, fate, and one of opera's most chilling masterpieces!

An episode that's Much Ado About Autism!Here's what's in store for today's episode: * Today, Matt and Angela welcome special guest and Shakespeare expert Dr. Sonya Freeman Loftis to explore how the Bard's works connect with autistic culture.* Sonya shares how she began studying Shakespeare through a disability lens and explores how some of his characters embody neurodivergent traits.* We discuss how the Globe Theatre is highly accommodating of disabilities and how Shakespeare's works are often featured in “relaxed performances” or autism-friendly showings.* Additionally, we explore the existence of Shakespeare therapy and how his works bring comfort in settings ranging from prisons to assisted living facilities.* Because of its complex language, Shakespeare's work requires a lot of bottom-up processing—something that comes naturally to us autistic folks.* We also talk about how Hamlet's deep melancholy and introspection can easily be understood through a neurodivergent lens.* "To be or not to be" is honestly the most famous autistic inertia quote of all time.* Our hosts and Sonya also dive into the character of Coriolanus, exploring how his lack of social interest and strong sense of justice make him an inherently autistic character.* Tragic heroes often embody neurodivergent experiences—whether it's Macbeth, King Lear, Othello, or Hamlet, each character reflects traits that resonate with the neurodivergent journey.* We discuss the ableism faced by Othello due to his epilepsy and how his character highlights the broader theme of otherness in Shakespeare's works—showing that understanding Shakespeare means understanding the experience of being viewed as different.* The emotional intensity of Shakespeare's plays can be deeply cathartic for the autistic reader, offering a powerful release through the raw, unfiltered emotions of his characters.* In Shakespeare's works, due to the time period, neurodivergent traits are often used for comic relief or are punished in some way, reflecting the societal attitudes of his era towards difference.* It's hard to say whether Shakespeare himself was autistic, as little is known about him biographically, but it's fascinating to see the ways disabled people have claimed his work and found resonance in his characters and themes.* However, Shakespeare could have been neurodivergent simply due to the sheer volume of writing he produced and the vast amount of knowledge he seemed to hold, which could suggest a unique cognitive perspective.* Shakespeare's work continues to be adapted and reclaimed to this day—like Baz Luhrmann's iconic Romeo + Juliet—as well as through neurodivergent Shakespeare meetups, where his plays are reinterpreted and embraced by new audiences.* Finally, we discuss the non-reciprocal, autistic language in Hamlet and how Shakespearean theater often breaks away from the rules and conventions of neurotypical performances, making it easier for neurodivergent audiences to have their needs met.“As a person with a disability, I felt frustrated sometimes when I would go to Shakespeare conferences and find that most of the focus was only on characters. And I thought, ‘okay, but what about the real people with disabilities who read Shakespeare and perform in Shakespeare plays and go to Shakespeare theaters?' And, you know, why isn't anyone writing anything about them?” - Dr. Sonya Freeman Loftis“One of the things that makes [Shakespeare] autistic culture representative is that because it is not in vernacular English, you have to bottom-up process. You need a dramaturg. You have to break down every single thing.” - Angela“Growing up as an autistic person, I never understood all of the conversation around me. I could understand some of it, but I never understood all of it. Neurotypical people use so many words and there was so much conversation. And I feel like that acceptance of not understanding it all has helped me to be a better reader of Shakespeare.” - Dr. Sonya Freeman Loftis“Average people throughout history did not make history. The average person lived and died largely forgotten living an average life. If you do something that is divergent, like making a whole bunch of plays that live on for centuries after your death, that is indicative of neurodivergence. Average people live average lives. And if you want to be outstanding, you got to be standing out.” - MattDid you enjoy this episode? All the world's a stage, but Shakespeare's works might just be the most autistic of them all. We dive into the deeply neurodivergent themes, characters, and language that make the Bard's plays resonate with the autistic experience. Let us know your thoughts in the comments, and use #AutisticCultureCatch to share your favorite autistic Shakespeare moments!Show Notes:https://morehouse.academia.edu/SonyaLoftishttps://www.researchgate.net/publication/374910377_William_Shakespeare_was_on_the_Autism_Spectrum_Asperger%27s_Syndrome_First_DraftReady for a paradigm shift that empowers Autistics? Help spread the news!Follow us on InstagramFind us on Apple Podcasts and SpotifyLearn more about Matt at Matt Lowry, LPPJoin Matt's Autistic Connections Facebook GroupLearn more about Angela at AngelaKingdon.com Angela's social media: Twitter and TikTokOur Autism-affirming merch shop This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.autisticculturepodcast.com/subscribe

In this episode, Hayley and Amy talk with theatre historian, author, and producer Jennifer Ashley Tepper about exploring under-appreciated corners of the theatre industry, embracing the ephemeral nature of theatre and seasons of life, the historical continuum of gender equity, and more. We also highlight Zora Neale Hurston as part of our Women's History Month Playwrights You Should Know series, in partnership with Expand the Canon. Click here for a transcript of the episode!Episode Notes:Hosts: Hayley Goldenberg and Amy AndrewsGuest: Jennifer Ashley TepperMusic: Chloe GellerEpisode Resources:Women Writing Musicals: The Legacy that the History Books Left OutWomen Writing Musicals accompanying playlistUntold Stories of BroadwayThe Jonathan Larson Project54 BelowWomen's History Month:Expand the Canon - Spunk by Zora Neale HurstonTrailblazers of the Week:Michael Radi - Musical Theatre Writing CollectiveKelly Bishop - The Third Gilmore Girl: A MemoirJoin us for the Women & Theatre Season 5 Launch Party on February 27 on Zoom!Guest Bio:Jennifer Ashley Tepper (she/her) is an acclaimed theatre historian, author, and producer. She is the conceiver of The Jonathan Larson Project, which starts previews in February 2025 at the Orpheum Theatre, off-Broadway, following an acclaimed 2018 concert premiere and cast recording. She has been the Creative and Programming Director at 54 Below for the past decade. She has curated or produced over 7,000 shows in this position. Her leadership at the beloved venue has gained praise from publications including The Huffington Post, The New York Times, Buzzfeed, Playbill, Newsday, The New York Post, and more. Tepper's four volumes of The Untold Stories of Broadway book series have been called an "inspiring Must-Read" by NBC New York and occupied the #1 spot on Amazon.com's Best Sellers List in Broadway & Musicals. Her new book, Women Writing Musicals: The Legacy that the History Books Left Out, was published in November 2024. Women Writing Musicals is the first-ever book about female musical theatre writers. Tepper is the producer of the musicals Be More Chill, Broadway Bounty Hunter, and Love In Hate Nation, recent projects that are part of a decade-long collaboration with the group known as Joe Iconis & Family. On Broadway, Tepper has also worked on [title of show], The Performers, Godspell, Macbeth, and The Parisian Woman. She was historian consultant on the tick, tick... BOOM! movie (directed by Lin-Manuel Miranda for Netflix) and co-creator of the Bistro Award-winning concert series If It Only Even Runs A Minute. Her work as a theatre historian also encompasses celebrated live talks and events, including at TEDxBroadway, BroadwayCon, The Museum of Broadway, Thespian Festivals, and more. Tepper received a 2020 Lincoln Center Emerging Artist Award. She was named one of the 10 professionals on Backstage Magazine's "1st Annual Broadway Future Power List", which stated: "Proving herself both a zeitgeist predictor and theatrical historian with her eclectic programming, Tepper is leading the conversation on contemporary musical theatre.”Find Jennifer Online:Visit Jennifer's websiteFollow Jennifer on InstagramBuy Women Writing MusicalsThanks for listening!Who do you want to hear from next on the Women & Theatre Podcast? Nominate someone here.The Women & Theatre Podcast is created and produced by Hayley Goldenberg and Amy Andrews. Please like, comment, subscribe, follow us on Instagram and Facebook, and consider making a donation to support our work. Thank you for listening!

Dive into the darkness with BlinkOpera: Macbeth.  Soprano Sara Gartland—our electrifying Lady Macbeth—takes you inside Shakespeare's legendary tale of ambition and madness. From the witches' fateful prophecies to the bloody consequences of the pursuit of power, discover how Verdi's haunting score brings this dark drama to life.

Check out Cam's latest novel / audio drama here! As we race towards the finale of A Game of Thrones, the supernatural elements are coming out to play. This chapter alone gives us blood magic, fatal prophecies, and dancing witches. Cam follows these threads to finally uncover what might be the root of this novel's constant Macbeth echoes. Maggie takes a look at the curious role that fear plays in this chapter, as it variously induces Dany's labor and separates her from everyone around her. We also consider the continued specter of Jon Snow across these pages. LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com

In this episode of Welcome to Cloudlandia, Dan shares his journey from recovering in snowy Toronto to basking in the Arizona sunshine at Canyon Ranch. While battling a cold and back spasm in Canada, He found unexpected humor in a limousine driver discovering our heated driveway before making my way to the warmth of Tucson. At Canyon Ranch, I read historical British Navy novels and attended Richard Rossi's conference, where conversations sparked insights about technology's role in our world. The discussions centered on how companies like Google and Apple influence geographic naming conventions and how AI tools like ChatGPT and Claude work to match human capabilities rather than surpass them. We explored the relationship between technology and daily life, from electric vehicles to meal delivery services. These conversations highlighted how technological advances aim to streamline our routines while acknowledging the challenge of replicating genuine human experiences. The experience reinforced that technology offers convenience and efficiency but cannot replace authentic human connections and experiences. This balance became clear through examples like distinguishing between Bach's original compositions and AI-generated music, reminding us of technology's role as a tool rather than a replacement for human interaction. SHOW HIGHLIGHTS In the episode, Dan shares his journey from Toronto's cold to Arizona's warmth, highlighting his recovery from a cold and back spasm, and experiences attending a conference and relaxing at Canyon Ranch. We discuss the impact of technology on geographic naming conventions, mentioning how companies like Google and Apple influence changes such as the renaming of geographic locations. The conversation explores the idea that technology is striving to match human intelligence, with examples including AI tools like ChatGPT and Claude, and the future potential of seamless digital interactions. I reflect on the progression of vision and technology, discussing how initial ideas develop into intellectual property and the role of technology in enhancing human capabilities. We explore resistance to change with technological advancements, using examples like the shift from gasoline to electric vehicles and how people adapt technology to maintain comfort. The episode examines the distinction between authentic human experiences and artificial replication, emphasizing the irreplaceable value of genuine human connections and interactions. We share personal anecdotes about how technology has replaced routine tasks, discussing the convenience of services like grocery delivery and automated car washes, and pondering future technological advancements. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr Sullivan. Mr Jackson, I hope you're well, I am. Dan: I'm much better than I was last weekend. I was, yeah, out of it. I mean, really I had like a cold and my back was in spasm. It was not good. So I'm a nice recovery week and I'm on the mend. How was your adventures in Arizona? Are you still in Arizona? Dean: now. No, I got back around 11 o'clock last night to Toronto. That has about a foot of snow. Dan: I saw that. Dean: Yeah, and it's still snowing, it's still coming down. So we really had nothing for November, december, january, but February seems to be the winter. It's really snowing, I mean it's continuous, it's not heavy snow, but it's just constant, and I kind of like it. And we got home last night and the limousine driver who driveway and he said, oh, I hope we can get up to your driveway and he, he hadn't uh, he didn't have previous he didn't have previous experience. He says oh my golly, you have heated driveways. And I said, yeah, uh, of course you know we've got to be good to our got to be, good to our limousine drivers. Dan: You know we have to you know, set a standard for driver friendliness and anyway, so Did he tell you, listen, if you wanted to really be good, you'd buy the house behind you so we could keep the driveway going all the way through. Dean: Yeah, somebody else did and they fixed it up, so I think that's out of the future. That's out of the. You know that's not going to happen. You can't add that to the compound, right? Yeah, so anyway, regarding Arizona, it was great. We were there for two and a half weeks so we had Richard Rossi's conference which was terrific, yeah, terrific. Richard does such a great job with this right. Dan: I mean, it's something that he's really doing it out of his own passionate curiosity himself. I think that's a good thing when you can make your own thing. I think that's a good thing when you can make your own. Dean: Then we did a week at Canyon Ranch in Tucson, which was really terrific and beautiful. I mean just gorgeous weather every day 75-ish. Got up to 80 a little bit, but absolutely clear. Not a cloud in the sky. For a week Didn't see a cloud in the night sky in Tucson. Dan: I was going to ask what's a day in the life at Canyon Ranch for you. Dean: I'll have a massage scheduled. You know you can go to 50 different things, but I don't. And you know, I read a lot while. I'm there I go for walks and know, did some gym work? and and then, yeah, just to take it really easy, you know I'm reading just a terrific set of British Navy stories from the novels. These are historic historically. They're all during the Napoleonic War, when Britain War, when Great Britain was fighting the French, and it follows. First of all, there's about 20 authors who write these terrific books, but the one I'm reading right now, andrew Wareham is his name and he follows a sea captain from when he becomes a midshipman. He becomes a midshipman. That's your first step in being an officer is a midshipman. But they start at nine and 10 years old. So they have nine and 10 year old boys on board ship, you know, and they lose a lot of them. You know because they're in. You know they're in action during the sea battles and you know they and they're foolish. You know 10, who who thinks? who thinks about danger when you're 10 years old, you know, but Trails him and he's about 25 now and he's a captain. He's a captain. So in 15 years he's become a captain and just terrific, just extraordinarily well-written books, but it's just about this one person. And then he goes up in terms of skill and responsibility and importance and he becomes rich doing it. Because if you captured a French ship, then you might be. Yeah, except for the gold. The gold had to go to the government. To the government. Dan: OK. Dean: You know the British government, but outside of that you could. You auctioned it off and the captain got a set share, and then everybody right down to the lowest seaman. So I went through about three of those in a week. Three, three now, wow yeah, and that was it. And then I came back and we had our free zone, and which worked out really worked out, really well. And you know you had arranged for a. Dan: I heard, you had arranged for a satellite launch while you were having the reception. Dean: Yeah, the rocket rocket, you know. I mean mean the rocket maker is very busy these days rearranging the government, you know. And uh so yeah, I thought it was kind of him to just take a little bit of time out and send a rocket up during our reception. I thought, you know, you know kind of a nice touch, you know, and yeah, it went really well and the, you know it's mostly parties. You know kind of a nice touch, you know, and yeah, it went really well and the you know it's mostly parties. You know our summit I mean if you, if you take this, if you take the two parties and put them together, they're equal to the amount of time we're doing in the conference and then the conference has lots of breaks, so yeah, I think it was more partying actually it's print seven, that's yeah, I mean that's the great uh seven print enjoy life and have a good time, you know right, right, right and then we uh took a day, and then we moved over to joe, which was joe yeah it's genius. Yeah, joe is such a great and the new offices look really good. Dan: I was just going to say I saw Richard Miller told me about the big 110-inch televisions or screens on the thing. That makes a big difference. Dean: Well, the big thing he can comfortably put 100 people in now. Yeah. Because, he's knocked out walls. Dan: Yeah, I zoomed in a little bit on Friday and, yeah, looks like a nice turnout too. It looks like that group's really growing. Dean: Yeah, it seems, I guess about 40, you know about 40 people. Yeah, and some not there, so it's probably total numbers is a bit higher. And yeah, and yeah, and yeah. We had one very impressive speaker. The senior editor for Epoch Times was there. Dan: Epoch Times. I saw that yeah. Dean: Yeah, in the afternoon and I didn't really know the background to this story. You know the background to the public. Yeah, and I had lunch sitting next to him, a very interesting person, you know, and he's very connected to a lot of people in the new administration Trump administration so he was talking about all the different things that he was doing. Dan: And I saw that Robert Kennedy was confirmed since last we spoke for the yeah and he's good friends with him. Dean: The editor is good friends with him. Dan: Yeah. Dean: And the next one is the FBI director, and he's good friends with him, so anyway, yeah, and Jeff Hayes was there and Jeff was just. I mean because Jeff had a major you know he had a major role in getting Robert Kennedy to the point where he could be and but I'm enjoying the. For the first time in US history, the government is being audited, mr Musk. Dan: I knew I saw it was very interesting. I saw something that there was somebody posted up a video from the 90s when Clinton and Gore launched a. There was something it was called rego, I think, but reinventing government operations or something, and it was mirroring all the things that they're saying about Doge, about the finding inefficiency and finding looking out all those things. So it was really interesting. They were showing the parallels of what was actually, you know, in 90, you know mid nineties, when Clinton and Gore were in yeah, yeah. Dean: Well, they didn't have the. I mean, it would have been an impossible task in the 1990s, but not so today, because of the guy, because they could just go in and they can identify every single check. That's written, the complete history, you know, and everything. They couldn't do that back in the 90s, you know Right. And probably they weren't the right party to be doing it either. Dan: So, anyway. Dean: no, I find it very intriguing and you can tell by the response of the Democrats that there's some stuff there. Dan: There's some there. Dean: There's some there there I think that I was just reading that. So far that you know they're they're, they're estimating that it's at least a trillion of found money. Dan: In other words, that when they go through, they'll find a trillion is a big, you know. Dean: I find that an impressive amount of money actually. Dan: Yeah, I find that an impressive amount of money. Yeah, that's exactly right, yeah yeah, yeah. Dean: So yeah, it's a big change. I think you know, I, I think that a lot of people who hate trump are probably wishing that he had actually won in 2020 you know, had to live with kovid for you know two and a half, three years, because nobody, almost no government, that was in charge. When COVID two years, I guess two and a half years of COVID. They've just been thrown out all around the world. Whoever the government was got thrown out, and so if Trump had won in 2020, he'd be out now and they'd probably be the Democrats and everything like that and they probably wouldn't have Elon Musk taking a look at government spending. Dan: What's the buzz in Canada now with their impending 51st? Yeah, it's nothing. Dean: We're in limbo. We're just in limbo because you know, the government isn't sitting and they're in the middle of a leadership race to replace Trudeau, and that won't happen until March 9th. Dan: Governor Trudeau Did you hear Donald Trump Government Trudeau. Dean: The state of Canada. Dan: Yeah, Trudeau keeps calling him Governor Trudeau. It's so disrespectful it's ridiculous. Dean: Yeah, the Gulf of America and the state of Canada. That's big news, since the last time we spoke right. Dan: We've had big changes. We had Governor. Trudeau and the Gulf of America. It's officially changed on the Google Maps now. Dean: Yeah, apple too. Apple changed over to the Gulf of America, and so did Chevron. In its annual report it talked about all of its deep water drilling in the Gulf of America. Yeah, it's interesting how things get named, anyway, I don't know. There wasn't any active government that called it the Gulf of Mexico. It was just the first map makers, whoever they were, yeah. They just said well, yeah, we call this the Gulf of Mexico and it's a done deal, deal. And so my sense is you know, if the you know if Google changes the name. That's an important support for the change. Dan: Yeah, yeah, absolutely, I mean, it's so funny. I wonder how long now it'll take for the street names to change to. Dean: Well, they're changing, you know and they're, yeah, and they're changing the military bases. You know they had all these military bases in the. Us that were named after people who you know were deemed racist or deemed, you know, not proper that this person's name should be. So one administration changes them, but the next administration comes back and changes them all back to the original and Mount McKinley I always liked Mount McKinley and then they changed to Mount Denali. Oh, is that right I didn't know that, and now it's changed back to Mount McKinley. Okay, so Mount McKinley is the tallest North American mountain tallest mountain in. North America. So anyway, it's really good. I've been toying with the book title. Dan: It's not the book. Dean: I'm writing right now, but the title of the book is Technology is Trying Very Hard to Keep Up with Us, okay, Technology is trying really hard to keep up. Yeah, because people, I think, have bought into it that we're the ones who are trying to keep up with technology. Dan: Right. Dean: And I think it creates a lot of stress. I think we're trying to keep up with something that we don't understand, and I think that's a very stressful, I think that's a very stressful attitude. And I just tested it out at Genius Network. And I just said what would you think about this? That technology is trying very hard to keep up with us. And they said, wow, wow. What do you mean? Well, you know, because I said first of all it's inferior. I said first of all it's inferior. Technology is inferior because the objective of so many of the researchers in technology is that we'll now have technology that's as smart as humans. So, right off the bat, the premise of that is that technology isn't as smart as humans. Okay, so why would we be trying to be keeping up with something that's not as smart as us? That's true, yeah, but just from a standpoint. I think, probably, that you wouldn't be able to measure what's happening one way or the other. One way or the other, you really wouldn't be able to measure them, you know. I mean, if you take an individual human being, just one person, and you look at that person's brain, that brain is the most complex in the world. The human brain has more connections than anything else in the world. So in the universe not in the world, but in the universe it's the most complex, that's just one individual and then humans can communicate with each other. So it's you know. Say you have 10 human brains, that's 10 times the most complex thing in the world and they're doing all sorts of things. So my sense is that's the superior thing that you know, the human brain and individual human is superior. So I think the makers of technology are trying to keep up with what the human brain is doing, but it's really hard. Dan: it's really hard yeah, this is I mean. Yeah, I wonder. I just upgraded my chat gT membership. Now I just upgraded to the $200, $200, $200 a month. Dean: Yeah, and apparently they're feeding you, dean, they're dating his. First it's $2. First it's free. Dan: That's how they get you. Dean: Dan, that's $20 a month. Now it's $200. Right, and you're deeper and deeper into it. Then they're going to say it's $500 a month, yeah, and then you're into the thousands. Dan: And that's how they get you. That's what they do, that's how they get you yeah. Dean: You can't back out of it. You can't back out of GPT. Yeah, once you're in, you're in. Dan: So I need gpt. Yeah, my cheer hand, you're in, so I need the. So now, from what I understand, I got it and then I've been, you know, recovering here the last uh, couple of weeks or I was on my, had my event and and recovery here, so I haven't really spent the time to go deep in it. But from what I understand now they can do projects for you Like it. Can you know, I just did some test things Like can you, you know, see what massage times are available at Hand and Stone for me for today, and it goes to the website and logs it can book for you if you wanted it, you know. So I really I see now like the way forward, it's really just a world of truly just being able to articulate what you want is a big thing and you know you had 25 years of just practicing. What do you want, you know, in your daily practice. Dean: Journaling You're journaling. Dan: Yeah, and now we're truly like I think this is one step closer to just being able to like articulate what you want and it can happen. I mean, I see it now on, you know, with the combination of the things that are doing, like Claude. A lot of people are using Claude for, like creating websites and apps and you know, functional things and then using. Now, I think, with ChatGPT, combined with those capabilities, that's really what the $200 a month, one kind of gets you is the ability for you to set it on a task and then come back. It'll still work on it while not. It felt like before, for $20 a month, charlotte would do whatever you wanted her to do right in real time while you're there, but you couldn't assign it a task that is going to be done while you're not there. So, man, it's pretty amazing times what we're coming into here being a visionary is a big thing. Dean: Yeah, my, I'm just. You know, I'm really. I just work with one, one tool and see, how much? I can get out of it and you know, perplexity is doing a good job of giving me alternative copy copy ideas, and the thing is that I've got so many thinking tools of my own that I've created over my last that the tools I think are really custom designed for how I go about things, okay, and and so see for me to kind of learn this new stuff in the time that I would be learning something new I'd be creating three or four new. I'd be creating three or four new tools yeah which are useful in the program. So there's an immediate payoff in the program and then they have IP value as we're discovering they have. IP value, so I'm not seeing the return on investment yet. I mean, I have team members who can do the programs and they're investigating them all the time and they're getting better. So I can just chat with, I can just send them a fast filter or something like that. That's a tool, fast filter, and then they go and they execute it and I haven't spent any time learning it and so I'm really interested in listening to you, because you're I would suspect that you're making advances every day, right, probably something new every day. Dan: I'm starting to see I don't know whether I've shared with you the we're kind of putting some legs on the VCR formula, kind of putting some. You're digging a little deeper into how to really define those what vision, what capabilities, what reach, how to think about them. And what I looked at with vision is thinking of it as a progression from the levels of vision that you can have. So you can start out with the ability to create a hypothesis or have an idea about something. I think that if you did this, that would be a good thing, right, this is what you, we should do, or this is where I think we should go with this. That's one level. Then, from that, then the next level up is that you have proven. That is right, that's a good idea, right. So you've set up an experiment, you've taken some action on that idea. You've gotten some feedback that, yeah, that's good. It's almost like applying the scientific method in a way. Right, you create a hypothesis, you set up an experiment, you do it Now. Once you've got proof, then the next level up is to create a protocol for that. You could repeat the result that you were able to get one time. And once you've got that protocol, now you've got something that can be packaged and protected. Ip is the crown jewel of the vision column. Everything should be progressing to that peak of having IP. And once you have a piece of IP, once you have a protocol, an algorithm, a recipe you know engineer, whatever the thing is. Now it moves into your capability column that you have it now as something that you can package as a result for someone Right. So it's been. It's a really interesting thing. You can package as a result for someone right, so it's a really interesting thing. I think that progression of kind of you know feels in line with the make it up, make it real, make it recur kind of progression as well. Dean: Yeah. Now here's a question and it's kind of related to this. Technology is trying really hard to keep up that I started the podcast with this morning. If you looked at yourself, are you using technology so that you can be different or are you using technology so that you can be the same? That's a good question. Dan: I think I'm using technology so that, well, I don't know how to think about that. I would say am I using technology so that I can be different? I can't think of an example to say either way. I mean I'm using technology in many cases to do what I would do if I could count on me to do it. You know, I think that's a thing that you know technology is able to do the things that I would do. And I take technology as you know, I have a broad definition of technology. Right, like a shovel would be a technology too. Right, any kind of tool to do what you would do in an enhanced kind of way, like if your thing is you're trying to dig a swimming pool, you know you do it by hand, scoop out all the dirt. But somebody realized, hey, if we make a shovel that is similar but bigger, it could scoop that out. And then if we make a, a backhoe, that can you know, do that's a thing so it's doing? I think the answer is probably all technology is to do the same faster and bigger yeah, I just just wonder that the most dominant force in people's life is really their habits, and what I feel is there's a set of habits that work. Dean: you know, you like them and they work. And secondly, you like doing them, you like doing them but you're being asked to change. You know, there's sort of this message, message, a narrative you're going to have to change and you're going to have to change. And I'm wondering if, at a certain stage, people reach a point where they say, okay, I'll use technology, but not to change the way you want me to change, but to stay the way I am. Dan: That's interesting but to stay the way I am. That's interesting. Yeah, I mean, there's probably good arguments for both sides, right? I think technology ultimately in its bestest to be able to replace your time and effort on doing something to make it easier to do what you need to do. I think about Excel, for instance, using Excel spreadsheets as a way of being able to sort and organize and compute data back like to the earliest technologies you know. Dean: Yeah, well, I just feel that you know. I mean, first of all, very few people are. I would start with myself by saying that I've probably got a massive habit system. You know, that's basically repeats who I am every day, like 90 and it's comfortable. You know it's comfortable you know, and I do it, and therefore, if I am asked to be more productive or I'm asked to be creative, I will only use those technologies that allow me to be productive in a way that my daily habits can stay the same. I don't really want to be disrupted. Right, yeah, I can see this, you know, with. One of the problems with EVs is that people are really used to going to the gas station. They've got a whole routine and it isn't just pumping gas, they go in, you know, they go in, they buy some things, you know, and everything like that, and it's really a short period of time. I mean, if you wanted to fill up your car, you know, and I was used to it because we had a, you know, in our trip we had a Beamer, we had the big Beamer. They have a X7 now. Dan: The X5 was always. Dean: Now they have an X7. And, the thing you know, we had it for two and a half weeks, so about three or four days before we left. We just topped it up, you know, we just I put enough gas in that would get us back to the airport you know, when we did it and you know it was like four minutes. You know it's like four minutes, yeah, where you know if you're I mean if you do your charging up overnight, there's no problem to it. You know, if you're I mean if you do your charging up overnight, there's no problem to it, you know there's no problem charging up, but if you're out on a trip and you're getting short on you know, on power, then it's a lot, you know where is it? Dean: Yeah, yeah. Dean: Yeah. Dan: I find that same thing Like so I, you know net. I have a charger at my house for my Tesla. And so I just plug it in and I never. I don't miss. Well, I never went to the. I never went to the gas station. Anyway, I would have Courtney. You know my assistant would always go. That was one of the things that she would do. But I think about, you know, the things that Courtney would do 10 years ago, like getting gas in my car, taking to the car wash all of that stuff, going to the grocery store, going to restaurants to pick up stuff or to take things to the mail, all of the things that were. You know. A lot of that is now replaced with technology, in that there's no need to, I don't need to go to the gas station. My car is always charged and always ready. We have there's a there's this big now push of these super convenient car wash things. So for $32 a month you join this. For $32 a month you have unlimited car washes and there's one right on the way to or the way home from, honeycomb, the breakfast place that I go to every day. So I can just literally swing in. You don't even, you don't get out of your car, you just drive through. It's got the. It recognizes your barcode thing. You drive right through and off you go, and so I always have a super clean car. I use Instacart for the grocery delivery and Uber Eats and Seamless and, like you think, 10 years ago one of the things that we had Courtney do was go to. It's funny you say this right, but technology keeping up with us, this would fit in that category that there was no delivery service for food aside from pizza and Chinese food. That's what you could get delivered at your house or office, right. So we had Courtney go to every restaurant, like all of our favorite restaurants. She went to every restaurant and got the takeout menu, two copies of it, one. So we had a binder, one at the house and one at the office that had the menus of every restaurant and now, all of a sudden, every restaurant was delivery, because we would place the order and then Courtney would go and get it and bring it. Dean: You know. Dan: And so that's what technology kind of replaced 90% of what Courtney was doing. You know, it's really interesting to to think. You know, pretty simple, have the, remember on Star Trek they had the replicators where they would you know? Just you tell the thing what you want and it would make the food. Dean: We're not that far off probably from that. Well, where do you see that? I don't see that at all. Dan: No, I'm saying on in you're seeing now I don't know if you've ever seen these robotic kitchens that are kitchen robots that you know can make anything that you want, and I think it's very interesting that you look at. Ai will be able to assess your inventory in your fridge and your robots will keep the ingredients stocked and your AI robot chef will be able to make whatever you want. I mean basically anything. Any packaged protocol, like for recipes or anything that you know how to do, is now eligible for someone else to do it, you know, and someone else being a technology, a robot, to be able to do it, you know, and someone else being a technology, a robot, to be able to do it. But there's no, you still have to be able to. There's still the human element of things. I had a really interesting experience just yesterday is I send out, you know, three emails a week to our subscribers, you know, to all my on my list of entrepreneurs, and you know the emails, for several years, have been derivative of my podcasts. Right, like so they. I would talk the podcast and then we would get those transcribed and then I had a writer who would take the transcript and identify you know two or three or four key points that we talked about in the podcast and create emails. You know three to 500 word emails based on those in my voice and I use air quotes in my voice because it really was my words Cause I spoke them on the podcast but she was, you know, compiling and putting them all together and they you know, I've had. I've got a lot of them and we've been, you know, since COVID, kind of in syndication with them, where they're on a three-year rotation, kind of thing, you know. So I haven't had to write new emails, but occasionally I will intersperse them in. And so the other day, yesterday, I sent out an email that I wrote 100% and it was describing the advantages of time travel and I was talking about how, in lead generation situations, you know, I mean, if I could say to people, let's say, you own a real estate company and we had the ability to time travel and we could go back two years from today and we're going to leave at midnight, but before we leave you can go to the MLS and you can print off a list of every house that sold in the last two years. So we can beam back two years armed with a list of every person that sold their house in the last two years and all you would need to do over that period of time is just concentrate on building a relationship with those people, because that's what you're looking for Right, on building a relationship with those people, because that's what you're looking for, right. And so I told that whole story and then said, you know, since and it reminds me, dan, of your it's certainty and uncertainty, right, like if you had certainty that these are the people that are going to sell their house, that you would be, you would have a different approach to your engagement with them, but it wouldn't change the fact that, as valuable as you think this list is, armed with this list of everybody that's going to sell their house, that sold their house in the last two years, you'd still have to go through the last two years in real time, and the people who sold their house, you know, teen months later, were you still had to wait 18 months for them to mature. And I thought, you know, I said that the thing that, since we can't time travel backwards, the best thing we could do is plant a time capsule and start generating leads of people who are going to sell their house in the next 100 weeks. And if you had that level of certainty around it, that would be a big thing, right? So I wrote that email and I talked about the thing. But I've gotten five or six replies to the emails saying I read a lot of your emails. In my opinion, this is the best one that you've written, or what an amazing insight, or this really resonated with me, but it was something that has like 100% of me in it, as opposed to written as a derivative of something I said. So it's not, I think, that human element. I don't know whether it's the energy or whatever. Dean: Yeah, it's kind of interesting there. I think what I'm going to say relates to what you're saying, right? Dan: now. Dean: There was just a YouTube. It was YouTube and it was. Can you tell if it's Bach or not? Dan: So what they did is they had an actual recording of Bach. Dean: Who wrote it, you know? And then they did an AI version of like Bach. And then they did an AI version of like Bach. And then they asked you to listen to both and say which one was Bach and which one was the AI. And there were six of the six. They gave six samples and I got it right six times in a row. Dan: Oh, wow. Dean: And what I was saying is that there's something that the human being has added which is not. It's actually is, and there's a big difference between is and kind of like, and it seems to me that's what you're saying here. Dan: Yeah. Dean: That there's something. It's kind of like Dean Jackson or is. Dean Jackson, and my sense is I think the gulf between those two is permanent. I agree 100%. Dan: That's the, you know. There's Jerry Spence, the attorney. He wrote a great book called how to Argue and Win Every Time. Dean: And one of the things that he said is when we're communicating. Dan: One of the things that he said is when we're communicating, one of the things that the receiver, what we're doing as the receiver of communication, is, we have all these invisible psychic tentacles that are out measuring and testing and looking for authenticity of it, and they can detect what he calls the thin clank of the counterfeit. Yes, and that's an interesting thing, right? What was it to you in Is it Bach that made you able to pick it out? Can you discern what the difference was. Dean: I think it was an emotional thing that basically I was moved by the back one, and I was just intrigued by the other one that's interesting right one of them was one of them was emotional, but the other one was. You know, I was me saying is it? You know, I, I don, I don't think so, I don't think it is when. With the first one, it didn't take long. There was just, you know, it was maybe five or six bars and I said, yeah, I think that's Bach, it's the twinkle in the eye, right. Dan: That's kind of the thing that is. Yeah, I get it. I think we're onto something with that. Dean: Yeah, and. I think it's uniqueness. In other words, here's my feeling is that humans develop new capabilities to deal with technology. I think that our brains are actually transforming as we're surrounded more and more with technology. And it has to do with what's valuable and what's not valuable and anything that's tech, we immediately say, oh, that doesn't really have any value because it's cheap, it's really cheap in other words, it was the technology was created to lower the cost of something. I mean that's really you know, I mean if it were, I mean mean, if it does what it's supposed to do, it lowers the cost, and there's various costs. There's cost of concentration, there's the cost of time, there's the cost of energy, there's the cost of money and everything else. And so technology will lower the cost in those areas and doing it in those areas and doing it. But what I find is that what we really treasure in life, the things that have a higher cost, that have a higher cost, it takes more of our effort takes more of our time. It takes you know more of our money, and in person you know. In person is always going to cost more than automatic or digital. So, my sense is, as time goes along, we adjust our you know the cost benefit analysis of the experience. Dan: Okay. Dean: And think about the six who wrote back to you on it. How much their cost was it really cost them to listen to the real thing? Okay because, first of all, they were listening and they were moved. They couldn't be doing something else when they were being moved by your message. Okay, and then they took time out. They took time out to actually construct a response to you. So the cost I mean we use cost as a bad word you know there's a high cost, or anything right yeah, but it's actually investment, the investment that the things where we're required to invest more are actually more valuable. Dan: I agree with you, yeah, yeah. So I think that's part of this, that's part of this balance, then, with the technologies, using the technology. I mean, you know, how do you get that? Dean: Yeah, that level about things that we're fully engaged with, that are more valuable than things that are just done for us in an instant. I don't have the answer to that, it's just an observation. Dan: No, I don't either. You're right, but the fact is that a lot of these things are, you know, no matter what the advancements happen in technology, in some of these ways, it's the fact is that life moves at the speed of reality, right, which is, you know, 60 seconds per minute. You know, I mean, that's really the, that's really the thing, and that those our attention is engaged for 100 of those minutes that we have, and when it's engaged in something, it's not engaged in something else, and when I think what that's what you're saying, is that you've gotten the authentic, like core, you know, full engagement. And it's an interesting thing that I think what AI is doing for bulk things, for people is it's allowing them to not have to pay attention to things they don't have to. It's really it allows everybody to get the cliff notes or something. They don't have to read Hamlet, they don't have to read Macbeth, they can scan the cliff notes of something. They don't have to read Hamlet, they don't have to read Macbeth, they can scan the cliff notes of Macbeth. But that's not the same experience of seeing. Dean: No, there's something about engagement, I think, the word we'll use as our segue word, namely to pick it up next time. Dan: I think it is. Dean: There's a real pleasure of being fully engaged. Dan: I think that's something that is cause this is an interesting thing. I'm gonna throw a couple of things out that we can marinate on for next time, because we're just having this conversation about Michelelin star restaurant experiences that I? Dean: I've always been fascinated by that the young chef who turned down uh three-star rating no he said I don't want to be rated, I don't want to have a michelin. Well, and people, people say well, of course you want a Michelin rating. He says no, he says it does weird things with what I'm supposed to be and what a restaurant is supposed to be. And he said I noticed the type of customers that came in were different type of customers. So he said I don't want to be listed anymore as Michelin. That's interesting. Dan: But it's fascinating. That is an only. It's a one-off original experience provided by a group of passionate people. You know doing something only in the moment. There's no leverage. Dean: Yeah. Dan: And I thought about the same thing like a, you know, like a performance of live theater in a live in an environment is a one-off, original experience and I think that's why people who love theater and love doing theater actors, I I mean, who love performing in theaters because of that authentic and immediate back that your engagement really brings, that's very live live and in person live exactly. Dean: Yeah, it's interesting, but my sense is that just to. Yeah, exactly, you're being pressured to to change the sameness. You'll look for a technology that frees up the time again so that you can enjoy your sameness. Dan: I don't know if I'm getting that across really. No, I understand, but it's a bit like it's a bit. Dean: It's a bit like a gyroscope. You want to stay on the true path when you're flying and therefore, you need more and more technology. I was noticing we came back in the 787, which is a marvelous airplane. For all of Boeing's troubles, the 787 is not one of them, and you know, it's just that. So we took off, you know, we flew from Phoenix to Toronto and just as we got near the, within about 30 minutes of landing in Toronto, there was just a little bump and the pilot immediately came out and says you know, we were in a little bit of a turbulence zone, but it won't last. In about a minute we'll be out of it and then, a minute later, there was no turbulence, it was just about a minute. And it wasn't real turbulence, it was just a little you know that. I noticed it and they have a really unique technology that they've introduced that can transform turbulence into smoothness. You know that's what I'm interpreting that they do, but for the whole flight, you know, I didn't even remember us taking off and when we landed I said, did we land? Yeah, and she said yeah, bev says we landed, and I said, wow, yeah, it's just really remarkable. But there's millions and millions of little tech bots that are adjusting it so that the sameness you like, which is namely not turbulence, is maintained. And I think that we do this on a personal level. I think we do this on an individual level. We have a smooth flight, we have an experience of what a smooth flight is for us and if there's any interruption of that, we want something that takes away the interruption so we can get back to the feeling that it's a smooth flight. Dan: Yeah agreed. Well, I think we're onto something here. Dean: I think we are yeah, okay. Dan:Changing to stay the same. Dean: Changing to stay the same yeah all righty. Dan: Constantly changing, to stay the same, that's a good book title right there? 0:48:32 - Dean: Oh yeah, all right there. Oh yeah, all righty, I like that Okay. Thanks, Dan. Dan: Okay now next week, I know you're gone next week we're on our way to Nashville for our upgrade, our lube job, whatever. Uh-huh, so two weeks, okay two weeks. Okay, bye. 0:48:52 - Dean: Thanks, Dan Bye.

A ground-breaking ninety-minute new musical, Night Side Songs explores the intimacy of illness, mortality, and the incredible dignity of caregivers through the story of Yasmine Holly, a fictional character informed by interviews with real doctors, hospital staff, and patients, many from right here in Philadelphia. Night Side Songs is a musical convergence which reflects and celebrates Philly's “eds and meds” community with humor, grace, and profound empathy. The production will tour local hospitals, community centers, and places of worship for two weeks before its run at the Suzanne Roberts Theatre. Directed by Artistic Director Taibi Magar. Night Side Songs is supported by The Pew Center for Arts & Heritage.Taibi Magar is an Artistic Director of Philadelphia Theatre Company. As a freelance director, her most recent credits are We Live in Cairo (A.R.T. world premiere, upcoming at New York Theatre Workshop), The Half-God of Rainfall (New York Theatre Workshop and A.R.T.), Macbeth in Stride (co-direction with Tyler Dobrowsky), Help (The Shed), and Twilight: Los Angeles, 1992 (Signature Theatre and A.R.T., Lortel Award Best Revival). Other New York credits include Capsule by Whitney White and Peter Mark Kendall (Under the Radar Festival/The Public Theater, co-directed with Tyler Dobrowsky), Blue Ridge starring Marin Ireland and The Great Leap starring BD Wong (Atlantic Theater Company); Is God Is (Soho Rep, 2018 Obie Award;) Master (The Foundry); and Underground Railroad Game (Ars Nova, Obie Award). Regional: CTG, Woolly Mammoth Theatre, Shakespeare Theatre, Alley Theatre, The Guthrie Theater, and Seattle Repertory Theatre, among others. International: Hamburg Festival, Edinburgh Festival, Malthouse Theatre (Melbourne), and Soho Theatre (London). MFA: Brown University.Daniel and Patrick Lazour are brothers and music theater writers. Projects in development include a musical adaptation of Ritesh Batra's film The Lunchbox (Lincoln Center Theater) and their show with communal singing, Night Side Songs (Under the Radar, A.R.T./PTC co-production). They wrote original music for Caroline Lindy's debut feature Your Monster (Sundance 2024) and their movie musical Challenger: An American Dream is being developed with Bruce Cohen Productions and Spark Features. Their original musical We Live in Cairo makes its off-Broadway premiere this Fall at New York Theater Workshop after a world premiere at the American Repertory Theater in 2019, directed by Taibi Magar. Original songs by the Lazours can be heard on their independently released albums: Freres, Flap My Wings (Songs from We Live in Cairo), Beth's Homemade Cowboy Breakfast and Lullabies. They are Jonathan Larson Grant and Richard Rodgers Award recipients, MacDowell and Yaddo Fellows, and New York Theater Workshop Usual Suspects. They have worked with Noor Theatre Company, Ars Nova and PAC NYC, and are proud teaching artists. Patrick holds a B.A. from Boston College and Daniel holds a B.A. from Columbia University. @frereslazourFOR MORE INFORMATION: https://philadelphiatheatrecompany.org/night-side-songs/

Check out Cam's latest novel / audio drama here! Happy Valentine's Day, it's time to discuss the messiest love triangle of the decade! Cam argues that Challengers is an intricate restaging of Shakespeare's Macbeth — where no one is allowed to die. This wrinkle presents fresh insights about both works of art, and some creative character mapping reveals an unexpected, revelatory Lady Macbeth hiding in plain sight. Maggie analyzes the strategic deployment of color through the film, as it both clarifies and complicates the relationships between our three characters. She also takes a close look at the film's music and sound design, arguing that they act as a stand-in for absent characters and unrequited passions. LINKS: Patreon, YouTube, Spotify, Instagram Feedback & Theories: secondbreakfastpod@gmail.com

EPISODE 74 - “SWEETHEARTS FROM THE GOLDEN AGE OF HOLLYWOOD" 2/10/2025 As Cupid sharpens his arrows, and the candy and greeting card companies prepare to make bank, we celebrate Valentine's Day. In this episode, we take a loving look at some of Hollywood's most enduring real-life love stories. From JOEL McCREA and FRANCES DEE to JEAN HARLOW and WILLIAM POWELL, join us as we discuss their lives, films, and, most importantly, their beautiful love stories.  SHOW NOTES:  Sources: Ladies of the Westerns (2015) by Michael C. Fitzgerald and Boyd Magers; Joel McCrea: Ride The High Country (1992), by Tony Thomas: “William Powell: Hollywood Star, Detective Film Icon," Jan. 27, 2025, Britannica,com; Letters From Hollywood: Jean Harlow , January 21, 2023 by David Stenn, TCM.com; The Love Story of Jean Harlow and William Power: Hollywood's Iconic Couple, Documentary (2023), Youtube.com; “McIntire and Nolan: A Romance Wright In Radio,” June 27, 2022, Travelanche; “12 Times Real Life Couple John McIntire and Jeanette Nolan Played a Couple Onscreen,” July 18, 2022, MeTV.com; “It Took Three Separate Actors To Bring Psycho's Norma Bates to Life,” November 30, 2022, www.slashfilm.com; “John McIntire and Jeanette Nolan Mix Business With Pleasure,” 2022, by J. Johnson, www.vocal.media/geeks; “John McIntire & Jeanette Nolan: Life Together,” by Jerry Skinner, YouTube.com; “Mary Pickford,” April 5, 2005, American Experience, PBS; “Douglas Fairbanks,” American Experience, PBS; Life and Times of Mary Pickford, Documentary (1998), Youtube.com; Harlow: The Blonde Bombshell, Documentary (1993), directed by Tom McQuade; “William Powell,” The State Historical Society of Missouri, www.missouriencyclopedia.com; Academy of Motion Picture Arts and Sciences (Oscars.org): Mary Pickford; “William Powell, Film Star, Dies at 91,”March 6, 1984, by Peter B. Flint, New York Times; “Jeanette Nolan, Spouse Rough it in Montana Wilderness Home,” March 24, 1974, The Indianapolis Star; TCM.com; MaryPickford.org; McCreaRanchFoundation.org; IMDBPro.com; IBDB.com; Wikipedia.com; AcademyMuseum.com Movies Mentioned:  JOEL MCCREA & FRANCES DEE: The Jazz Age  (1929); The Silver Horde (1930); Playboy of Paris (1930); King of the Jungle (1930); An American Tragedy (1931); Caught (1931); Born to Love (1931); Bird of Paradise (1932); The Silver Cord (1933); One Man's Journey (1933); Little Women (1933); Finishing School (1934); Of Human Bondage (1934); Gambling Lady (1934); Becky Sharp (1935); Barbary Coast (1935); These Three (1936); Come and Get It (1936); The Gay Deception (1936);   Wells Fargo (1937); Dead End (1937); If I Were King (1938); Union Station (1939); Foreign Correspondent (1940); I Walked With A Zombie (1943); Four Faces West (1948); Ride The High Country (1962); JEAN HARLOW & WILLIAM POWELL: Man of the World (1931); Ladies Man (1931); Hell's Angels (1930); Reckless (1935); Libeled Lady (1936); After The Thin Man (1936); Saratoga (1937); My Man Godfrey (1936); JOHN McINTIRE & JEANETTE NOLAN: The Ramparts We Watch (1940); Northside 777 (1948); MacBeth (1948); Words and Music (1948); River Lady (1948);   Command Decision (1948); Top of The Morning (1949); No Sad Song For Me (1950); The Asphalt Jungle (1950); Winchester '73 (1950); The Secret of Convict Lake (1951); The Happy Time (1952); The Big Heat (1953); Westward The Women (1951); Apache (1954);  The Far County (1954); Flaming Star (1960);  Summer and Smoke (1961); The Man Who Shot Liberty Valance (1962); Rooster Cogburn (1975); The Rescuers (1978); True Confessions (1981); Cloak and Dagger (1984); Turner and Hooch (1989); The Horse Whisperer (1998); MARY PICKFORD & DOUGLAS FAIRBANKS: *** Please email us for list of Pickford & Fairbanks movies*** --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the first hour of "Connections with Evan Dawson" on Feb. 7, 2025, guest host Matt DeTurck welcomes members of the Company Theatre to discuss their new production of "Macbeth."

This weekend, you can catch a recording of the Donmar Warehouse production of Macbeth starring David Tennant and Cush Jumbo, directed by Max Webster. In this episode of the podcast, Alex discusses why this production is a must-see and why you should make time for it now and for recorded Shakespeare more generally. The best time to watch Shakespeare is when it's fresh. You learn something new from every Shakespeare production you see. Watching a bunch of productions of a Shakespeare play is one of the best ways to learn about directing. Watching a bunch of productions of a Shakespeare play is one of the best ways to learn about editing. Recorded theatre can be pretty ephemeral, so watch it while you can.  ***Want to stay updated on future opportunities to see this Macbeth or other great recorded theatre production? Subscribe to the Globetrotting Watchlist: http://seventh-row.com/globetrotting Related Episodes Bonus Ep. 17 Saoirse Ronan and James McArdle in The Tragedy of Macbeth Bonus Ep. 22: Joel Coen's The Tragedy of Macbeth  ------- Stay updated on Seventh Row Follow Seventh Row on Twitter, Bluesky and Instagram. Read our articles at seventh-row.com. Follow Alex Heeney on Bluesky, Twitter and Instagram.   

David Lynch passed away on January 15th, 2025, leaving behind a body of work that reshaped the landscape of cinema and television. Few artists have delved as deeply into the strange, the beautiful, and the terrifying as Lynch, and few have had as profound an influence on Weird Studies. His films have long been a touchstone for JF and Phil's discussions on art, philosophy, and the nature of the weird. To honor his memory, they decided to devote an episode to Lynch's work as a whole, with special attention paid to Eraserhead—the nightmarish debut that announced his singular vision to the world. A study in dread, desire, and the uncanny, Eraserhead remains one of the most disturbing and mysterious works of American cinema. In this episode, we explore what makes it so powerful and how it connects to Lynch's larger artistic project. To enroll in JF's new Weirdosphere course, It's All Real: An Inquiry Into the Reality of the Supernatural, please visit www.weirdosphere.org. The course starts on Thursday, Feb 6, at 8 pm Eastern. A video for the piece For David Lynch is available on Pierre-Yves Martel's YouTube channel (https://youtu.be/3d73NWXWgyY?si=kHr9yZV2As9wLzSe). REFERENCES David Lynch, Eraserhead (https://www.imdb.com/title/tt0074486/) David Lynch: The Art Life (https://www.imdb.com/title/tt1691152/) Victorian Nelson, The Secret Life of Puppets (https://bookshop.org/a/18799/9780674012448) Norman Mailer, An American Dream (https://bookshop.org/a/18799/9780812986136) Laura Adams, "Existential Aesthetics: An Interview with Norman Mailer” George P. Hansen, The Trickster and the Paranormal (https://bookshop.org/a/18799/9781401000820) Carl Jung, The Red Book (https://bookshop.org/a/18799/9780393065671) Jack Arnold (dir.), The Creature from the Black Lagoon (https://www.imdb.com/title/tt0046876/) Noel Caroll, The Philosophy of Horror (https://bookshop.org/a/18799/9780415902168) Gilles Deleuze, The Logic of Sense (https://bookshop.org/a/18799/9780231059831) Jack Smith, “The Perfect Filmic Appositeness of Maria Montez” (https://www.scribd.com/document/249415272/The-Perfect-Filmic-Appositeness-of-Maria-Montez) David Foster Wallace, “David Lynch Keeps his Head” in A Supposedly Fun Thing I'll Never do Again (https://bookshop.org/a/18799/9780316925280) Arthur Machen, The White People (https://shortstoryproject.com/stories/the-white-people/) William Shakespeare, Macbeth (https://bookshop.org/a/18799/9781451694727)

When faced with important decisions, what makes us say "yes" or "no"? Are our responses based on circumstance, fear of the person making the request, or our values? This week we take a look at Macbeth, Hamlet, and Thomas More to think about our values and how we use them.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydThe Tudors by NumbersCourting the Virgin QueenHistory shows us what's possible.

Click here for the DRB Daily Sign Up form! TODAY'S SCRIPTURE: Genesis 42-43; Psalm 5; Luke 17 Click HERE to give! Get Free App Here! One Year Bible Podcast: Join Hunter and Heather Barnes on 'The Daily Radio Bible' for a daily 20-minute spiritual journey. Engage with scripture readings, heartfelt devotionals, and collective prayers that draw you into the heart of God's love. Embark on this year-long voyage through the Bible, and let each day's passage uplift and inspire you. TODAY'S EPISODE: Welcome to another episode of Daily Radio Bible with your host, Hunter! I'm thrilled you're joining us today as we dive deep into the Scriptures. Today's journey takes us through Genesis chapters 42 and 43, Psalm 5, and Luke chapter 17. We'll witness Joseph's emotional encounter with his brothers in Egypt, reflect on David's heartfelt prayers in the Psalms, and explore the teachings and miracles of Jesus in the Gospel of Luke. Along the way, we'll seek not just to read the words but to encounter the One who is life itself—Jesus. Stick around for powerful prayers, thoughtful reflections, and, of course, the transformative Word of God. Let's embark on this journey together! TODAY'S DEVOTION: For most of the people in this story, life moves on, business as usual. Even in the midst of their problems, their leprosy, their uncleanness, as they tend their flocks or grind their flour, punch their clocks as it were, it's business as usual. And that's what life is like for many of us now. Life for most moves on, business as usual. Shakespeare alludes to this in his play Macbeth. He writes, "tomorrow and tomorrow and tomorrow creeps in this petty pace from day to day to the last syllable of recorded time. And all our yesteryears have lighted fools, the way to dusty death. Out, out, brief candle. Life's but a walking shadow, a poor player that struts and frets his hour upon the stage, and then is heard no more. It is a tale told by an idiot, full of sound and fury signifying nothing." It's just business as usual. We are blinded, and we fail to see what's right in front of us. The invitation for us is to see him, the one who's present with us, and break free from the blinding business of this life that leads to nothing but more of the same. To see him so that we can see things differently. To see something you didn't see yesterday. The kingdom of God breaking through. And that's not going to be found strutting and fretting this hour upon the stage the way that we do. But it can be found where the one leper found it, at the feet of Jesus. He, the king, is standing among us. He is Jesus. He's the one who has broken into this world and into your world, and he's cleansed you like he did the leper, and he's made you new. But are you ready to see him? Are you ready to be like that one leper and come to the one who is with us now? The one who has cleansed you now. The one who offers you his kingdom life now. The prayer of my own heart today is that I will come, that we will come. We'll come to the one who has invited us to live with him, the king, in his kingdom right now. That's the prayer that I have for my own soul. That's the prayer that I have for my family, for my wife, my daughters, my son. And that's the prayer that I have for you. May it be so. TODAY'S PRAYERS: Lord God Almighty and everlasting father you have brought us in safety to this new day preserve us with your Mighty power that we might not fall into sin or be overcome by adversity. And in all we do, direct us to the fulfilling of your purpose  through Jesus Christ Our Lord amen.   Oh God you have made of one blood all the peoples of the earth and sent your blessed son to preach peace to those who are far and those who are near. Grant that people everywhere may seek after you, and find you. Bring the nations into your fold, pour out your Spirit on all flesh, and hasten the coming of your kingdom through Jesus Christ our Lord, Amen.   And now Lord,  make me an instrument of your peace.  Where there is hatred let me sow love. Where there is injury, pardon.  Where there is doubt, faith. Where there is despair, hope.  Where there is darkness, light.  And where there is sadness,  Joy.  Oh Lord grant that I might not seek to be consoled as to console. To be understood as to understand, to be loved as to love.  For it is in the giving that we receive, in the pardoning that we are pardoned, it is in the dying that we are born unto eternal life.  Amen And now as our Lord has taught us we are bold to pray... Our Father who art in heaven, hallowed be thy name, thy kingdom come thy will be done on earth as it is in heaven, give us this day our daily bread, and forgive us our tresspasses as we forgive those who trespass against us, and lead us not unto temptation, but deliver us from evil, for thine is the Kingdom and the power and the glory forever. Amen. Loving God, we give you thanks for restoring us in your image. And nourishing us with spiritual food, now send us forth as forgiven people, healed and renewed, that we may proclaim your love to the world, and continue in the risen life of Christ.  Amen.  OUR WEBSITE: www.dailyradiobible.com We are reading through the New Living Translation.   Leave us a voicemail HERE: https://www.speakpipe.com/dailyradiobible Subscribe to us at YouTube: https://www.youtube.com/@Dailyradiobible/featured OTHER PODCASTS: Listen with Apple Podcast DAILY BIBLE FOR KIDS DAILY PSALMS DAILY PROVERBS DAILY LECTIONARY DAILY CHRONOLOGICAL