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David Allen and his senior staff share the GTD® best practices and models for seamlessly managing your projects. Bonus materials include a rich set of PDF handouts and the GTD Live recording of David leading you through the Natural Planning Model®. 5 hours of audio on 5 MP3s. (This podcast is the first half of the 4th part in the series, available in the GTD Store) Sign up for the GTD Newsletter -- Knowing how to get the right things done is a key to success. It's easy to get distracted and overwhelmed. Stay focused and increase productivity with GTD Connect—a subscription-based online learning center from the David Allen Company. GTD Connect gives you access to a wealth of multimedia content designed to help you stay on track and deepen your awareness of principles you can also learn in GTD courses, coaching, and by reading the Getting Things Done book. You'll also get the support and encouragement of a thriving global community of people you won't find anywhere else. If you already know you'd like to join, click here to choose from monthly or annual options. If you'd like to try GTD Connect free for 14 days, read on for what's included and how to get your free trial. During your 14-day free trial, you will have access to: Recorded webinars with David Allen & the certified coaches and trainers on a wide range of productivity topics GTD Getting Started & Refresher Series to reinforce the fundamentals you may have learned in a GTD course, coaching, or book Extensive audio, video, and document library Slice of GTD Life series to see how others are making GTD stick David Allen's exclusive interviews with people in his network all over the world Lively members-only discussion forums sharing ideas, tips, and tricks Note: GTD Connect is designed to reinforce your learning, and we also recommend that you take a course, get individual coaching, or read the Getting Things Done book. Ready to start your free trial?

On this episode of The Defense Unicorns Podcast, we're not just talking about writing code—we're talking about what happens when you try to change the culture of software inside the Department of Defense. From flying to Qatar to debug mission-critical planning tools to reflashing smart lightbulbs with open-source firmware, Wayne Starr has done it all. Host Rebecca Lively sits down with Wayne, a Unicorn Engineer at Defense Unicorns,  to unpack what it takes to deliver secure, user-centered software in one of the world's most complex environments.Wayne shares how his early career at DIU “ruined” him—in the best possible way—by showing what was possible when bureaucratic blockers are set aside and software teams are trusted to deliver. He dives into real DevSecOps wins and war stories, including a mission-planning app that saved hours of planner time and real dollars in fuel. Along the way, he reflects on the absurdity of battles over office headsets, the power of printing MP3s on paper, and how open source gives individuals more control over their technology.If you've ever tried to navigate the maze of government compliance, or if you're just wondering what DevSecOps looks like when it's done right, Wayne's story offers a rare behind-the-scenes look. From tactical impact to philosophical reflections, this conversation covers what it means to ship software that matters—and why knowing the rules better than anyone else is sometimes the only way to change the game.Key Quote Options:“  I want to control technology. I don't want technology to control me. If it's closed-source software, it could suddenly require a subscription at some point, it could be connected to the cloud, and who knows what's happening with the data, who knows where that's going. And so I try to pull as much back as I can to things that I can control and that I can monitor and use.”Wayne StarrTime Stamps:(00:49) First Assignment at Defense Innovation Unit(04:28) Skepticism and Acceptance from Users(12:16) Open Source Software Journey(29:55) Creating ZARF(39:23) Other Notable Open Source Projects: Pepper and Lula(43:31) Lightning RoundLinks:Connect with Wayne StarrConnect with Rebecca LivelyLearn More About Defense Unicorns

In this episode of Welcome to Cloudlandia, we start by unraveling the intriguing concept of global time zones. We humorously ponder the idea of a unified world clock, inspired by China's singular time zone. The discussion expands to how people in countries like Iceland adapt to extreme daylight variations and the impact of climate change narratives that often overlook local experiences. We then explore the power of perception and emotion in shaping our reactions to world events. The conversation delves into how algorithms on platforms shape personal experiences and the choice to opt out of traditional media in favor of a more tailored information stream. The shift from curated media landscapes to algorithm-driven platforms is another key topic, highlighting the challenges of navigating personalized information environments. Finally, we tackle the critical issue of government financial accountability. We humorously consider where vast sums of unaccounted-for money might go, reflecting on the importance of financial transparency. SHOW HIGHLIGHTS In the episode, Dan and I explore the concept of a unified global time zone, drawing inspiration from China's singular time zone. We discuss the potential advantages and disadvantages of such a system, including the adaptability of people living in areas with extreme daylight variations like Iceland. We delve into the complexities of climate change narratives, highlighting how they often lack local context and focus on global measurements, which can lead to stress and anxiety due to information overload without agency. The power of perception and emotion is a focal point, as we discuss how reactions are often influenced by personal feelings and past experiences rather than actual events. This is compared to the idealization of celebrities through curated information. Our conversation examines the shift from curated media landscapes to algorithm-driven platforms, emphasizing how algorithms shape personal experiences and the challenges of researching topics like tariffs in a personalized information environment. We discuss the dynamic between vision and capability in innovation, using historical examples like Gutenberg's printing press to illustrate how existing capabilities can spark visionary ideas. The episode explores the complexities of international trade, particularly the shift from tangible products to intangible services, and the challenges of tracking these shifts across borders. We address the issue of government financial accountability, referencing the $1.2 trillion unaccounted for last year, and the need for financial transparency and accountability in the current era. Links: WelcomeToCloudlandia.com StrategicCoach.com DeanJackson.com ListingAgentLifestyle.com TRANSCRIPT (AI transcript provided as supporting material and may contain errors) Dean: Mr Sullivan. Dan: Yes, and I forgot my time zones there almost for a second. Are you in Chicago? Yeah, you know. Why can't we just all be in the same time zone? Dean: Well. Dan: I know that's what China does. Yeah, Well, that's a reason not to do it. Then you know, I learned that little tidbit from we publish something and it's a reason not to do it. Dean: then that was. You know I learned that little tidbit from. We publish something and it's a postcard for, you know, realtors and financial advisors or business owners to send to their clients as a monthly kind of postcard newsletter, and so every month it has all kinds of interesting facts and whatnot, and one of them that I heard on there is, even though China should have six time zones, they only have one. That's kind of an interesting thing. Imagine if the. United States had all one time zone, that would be great. Dan: Yeah, I think there would be advantages and disadvantages, regardless of what your time system is. Dean: Well, that'd be like anything really, you know, think about that. In California it would get light super early and we'd be off a good dock really early too we'd be off and get docked really early too. Yeah, I spent a couple of summers in Iceland, where it gets 24 hours of light. Dan: You know June 20th and it's. I mean, it's disruptive if you're just arriving there, but I talked to Icelanders and they don't really think about it. It's, you know, part of the year it's completely light all day and part of the year it's dark all day. And then they've adjusted to it. Dean: It happens in Finland and Norway and Alaska. We're adaptable, dan, we're very adaptable. Dan: And those that aren't move away or die. Dean: I heard somebody was talking today about. It was a video that I saw online. They were mentioning climate change, global warming, and that they say that global warming is the measurement is against what? Since when? Is the question to ask, because the things that they're talking about are since 1850, right, it's warmed by 0.6 degrees Celsius since 1850. We've had three periods of warming and since you know, the medieval warming and the Roman warming, we're actually down by five degrees. So it's like such a so when somebody says that we're global warming, the temperature is global warming and the question is since when? That's the real question to ask. Dan: Yeah, I think with those who are alarmist regarding temperature and climate. They have two big problems. They're language problems, Not so much language, but contextual problems. Nobody experiences global. That's exactly right. The other thing is nobody experiences climate. What we experience is local weather. Dean: Yes. Dan: Yeah, so nobody in the world has ever experienced either global or climate. You just experience whatever the weather is within a mile of you you know within a mile of you. That's basically and it's hard to it's hard to sell a theory. Dean: That, you know. That ties in with kind of the idea we were talking about last week that the you know, our brains are not equipped, we're not supposed to have omniscience or know of all of the things that are happening all over the world, of all of the things that are happening all over the world, where only our brains are built to, you know, be aware of and adapt to what's happening in our own proximity and with the people in our world. Our top 150 and yeah, that's what that's the rap thing is that we're, you know, we're having access to everybody and everything at a rate that we're not access to everybody and everything at a rate that we're not supposed to Like. Even when you look back at you know, I've thought about this, like since the internet, if you think about since the 90s, like you know, my growing up, my whole lens on the world was really a, you know, toronto, the GTA lens and being part of Canada. That was really most of our outlook. And then, because of our proximity to the United States, of course we had access to all the US programming and all that stuff, but you know, you mostly hear it was all the local Buffalo programming. That was. They always used to lead off with. There was a lot of fires in Tonawanda, it seemed happening in Buffalo, because everything was fire in North Tonawanda. It still met 11. And that was whole thing. We were either listening to the CBC or listening to eyewitness news in Buffalo, yeah. But now, and you had to seek out to know what was going on in Chicago, the only time you would have a massive scale was happening in Chicago. Right, that made national news the tippy top of the thing. Dan: Yeah, I wonder if you said an interesting thing is that we have access to everyone and everything, but we never do it. Dean: It's true we have access to the knowledge right Like it's part of you know how, when you I was thinking about it, as you know how you define a mess right as an obligation without commitment that there's some kind of information mess that we have is knowledge without agency? You know we have is knowledge without agency. You know we have no agency to do anything about any of these bad things that are happening. No, it's out of our control. You know what are we going to do about what's happening in Ukraine or Gaza or what we know about them? You know, or we know, everybody's getting stabbed in London and you know you just hear you get all these things that fire off these anxiety things triggers. It's actually in our mind, yeah that's exactly right, that our minds with access to that. That triggers off the hormone or the chemical responses you know that fire up the fight or flight or the anxiety or readiness. Dan: Yeah, it's really interesting. I've been giving some thought to well, first of all, the perception of danger in the world, and what we're responding to is not actual events. What we're responding to is our feelings. Yes, that's exactly right, yeah. You've just had an emotional change and you're actually responding to your own emotions, which really aren't that connected to what actually triggered your emotions. You know it might have been something that happened to you maybe 25 years ago. That was scary and that memory just got triggered by an event in the world. Dean: Yeah. Dan: Yeah, and the same thing with celebrity. Celebrity because I've been thinking about celebrity for quite a long time and you know, each of us you and I, to a certain extent are a celebrity in certain circles, and what I think is responsible for that is that they've read something or heard something or heard somebody say something that has created an image of someone in their mind, but it's at a distance, they don't actually meet you at a distance. And the more that's reinforced, but you never meet them the image of that person gets bigger and bigger in your mind. But you're not responding to the person. You're responding just to something that you created in your mind. Dean: I think part of that is because you know if you see somebody on video or you hear somebody on audio or you see them written about in text, that those are. It's kind of residue from you know it used to be the only people that would get written about or on tv or on the radio were no famous people yeah, famous, and so that's kind of it. I think that the same yeah, everybody has access to that. Now Everybody has reach. You know to be to the meritocracy of that because it used to be curated, right that there was some, there were only, so somebody was making the decision on who got to be famous. Like that's why people used to really want to own media. Like that's why people used to really want to own media. That's why all these powerful people wanted to own newspapers and television and radio stations, because they could control the messaging, control the media. You know? Dan: Yeah, it's really interesting. Is it you that has the reach, or someone else has reach that's impacting you? Dean: Yeah, I mean I think that we all have it depends on whether you're on the sending end or the receiving end of reach. Yeah, like we've seen a shift in what happens, like even in the evolution of our ability to be able to consume. It started with our ability to consume content, like with all of those you know, with MP3s and videos, and you know, then YouTube was really the chance for everybody to post up. You know you could distribute, you had access to reach, and in the last 10 years, the shift has been that you had to in order to have reach, you had to get followers right. That were people would subscribe to your content or, you know, like your content on Facebook or be your friend or follower, and now we've shifted to every. That doesn't really matter. Everything is algorithmic now. It's like you don't have to go out and spread the word and gather people to you. Your content is being pushed to people. That's how Stephen Paltrow can become, can reach millions of people, because his content is scratching an itch for millions of people who are, you know, seeking out fertility content, content, and that is being pushed to you. Now, that's why you're it's all algorithm based, you know, and it's so. It's really interesting that it becomes this echo chamber, that you get more of what you respond to. So you know you're get it. So it's amazing how every person's algorithm is very different, like what shows up on on things, and that's kind of what you've really, you know, avoided is you've removed yourself from that. You choose not to participate, so you're the 100%. Seek out what you're looking for. It's not being dictated to you. Dan: Not quite understanding that. Dean: Well you have chosen that you don't watch news. You don't participate in social media. You don't have an Instagram or anything like that where they're observing what you're watching and then dictating what you see next. You are an active like. You go select what you're going to watch. Now you've chosen real clear politics as your curator of things, so that's the jump. Dan: Peter Zion. Dean: But you're self-directing your things by asking. You're probably being introduced to things by the way. You interact with perplexity by asking it 10 ways. This is affecting this or the combination of this and this. Dan: Yeah, I really don't care what perplexity, you know what it would want to tell me about. Dean: You just want to ask, you want to guide the way it responds. Yeah yeah, and that's very it's very powerful. Dan: It's very powerful. I mean, I'm just utterly pleased with what perplexity does for me. You know like you know, I just considered it. You know an additional capability that I have daily, that you know I can be informed in a way that suits me, like I was going over the tariffs. It was a little interesting on the tariff side because I asked a series of questions and it seemed to be avoiding what I was getting at. This is the first time I've really had that. So I said yeah, and I was asking about Canada and I said what tariffs did Canada have against the United States? I guess you can say against tariff, against before 2025. And it said there were no retaliatory tariffs against the United States before 2025. And I said I didn't ask about retaliatory tariffs, I asked about tariffs, you know. And that said, well, there were no reciprocal tariffs before 2025. And I said, no, I want to know what tariffs. And then this said there was softwood and there was dairy products, and you know. I finally got to it. I finally got to it and I haven't really thought about it, because it was just about an hour ago that I did it and I said why did it avoid my question? I didn't. I mean, it's really good at knowing exactly what you're saying. Why did it throw a couple of other things in there? Dean: Yeah, misdirection, right, or kind of. Maybe it's because what, maybe it's because it's the temperature. You know of what the zeitgeist is saying. What are people searching about? And I think maybe those, a lot of the words that they're saying, are. You know, the words are really important. Dan: Not having a modifier for a tariff puts you in a completely different, and those tariffs have been in place for 50 or 60 years. So the interesting thing about it. By the way, 50 countries are now negotiating with the United States to remove tariffs how interesting. And he announced it on Wednesday. Dean: Yeah. Dan: He just wanted to have a conversation with you and wanted to get your attention. Dean: Yeah, wanted to get your attention. Yeah, have your attention, yeah, okay, let's talk about this. Dan: Yeah and everything. But other than that, I'm just utterly pleased with what it can do to fashion your thoughts, fashion your writing and everything else. I think it's a terrific tool. Dean: I've been having a lot of conversations around these bots. Like you know, people are hot on creating bots now like a Dan bot. Creating bots now like a Dan bot. Like oh Dan, you could say you've got so many podcasts and so much content and so many recordings of you, let's put it all in and train up Dan bot and then people could ask they'd have access to you as an AI. Dan: Yeah, the way I do it. I ask them to send me a check and then they could. Dean: But I wonder the thing about it that most of the things that I think are the limitations of that are that it's not how to even take advantage of that, because they don't know what you know to be able to, of that. Because they're bringing it, they don't know what you know to be able to access that you know and how it affects them you know. I first I got that sense when somebody came. They were very excited that they had trained up a Napoleon Hill bot and AI and you can ask Napoleon anything and I thought, thought you know, but people don't know what to ask. I'd rather have Napoleon ask me questions and coach me. You know like I think that would be much more useful is to have Napoleon Hill kind of ask me questions, engage where I am and then make you know, then feed me his thinking about that. If the goal is to facilitate change, you know, or to give people an advantage, I don't know. It just seems like we're very limited. Dan: I mean, you know, my attitude is to increase the engagement with people I'm already engaged with. Yeah, like I don't feel I'm missing anyone, you know? I never feel like I'm missing someone in the world you know, or somehow my life is deficient because I'm not talking to 10 times more people that I'm talking to now, because I'm not really missing anything. I'm fully engaged. I mean, eight different podcast series is about the maximum that I can do, so I don't really need any. But to increase the engagement of the podcast, that would be a goal, because it's available. I don't. I don't wish for things, that is, that aren't accessible you know, and it's very interesting. I was going to talk to you about this subject, but more and more I've got a new tool that I put together. I don't think you have vision before you have capability. Okay, say more Now. What I mean by that is think of a situation where you suddenly thought hey, I can do this new thing. And you do the new thing and satisfy yourself that it's new and it's useful, and then all of a sudden your brain says, hey, with this new thing, you can do this, you can do this, you can do this, do this, you can do this, you can do this. And my sense is the vision of that you can do this is only created because you have the capability. Dean: It's the chicken and the egg. Dan: Yeah, but usually the chicken is nearby. In other words, it's something you can do today, you can do tomorrow, but the vision can be yours out. You know the vision, and my sense is that capabilities are more readily available than vision. Okay, and I'm making a distinction here, I'm not seeing the capability as a vision, I'm seeing that as just something that's in a very short timeframe, maybe a day, two days, you know, maximum I would say is 90 days and you achieve that. You start the quarter. You don't have the capability. You end the quarter you have the capability. Dean: And once you have that capability. Dan: all of a sudden, you can see a year out, you can see five years out. Dean: I bet that's true because it's repeatable, maybe out. Dan: I bet that's true because it's repeatable, maybe, so my sense is that focusing on capability automatically brings vision with it. Dean: Would you say that a capability? Let's go all the way back to Gutenberg, for instance. Gutenberg created movable type right and a printing press that allowed you to bypass the whole scribing. You know, economy or the ecosystem right, all these scribes that were making handwritten copies of things. So you had had a capability, then you could call that right. Dan: Well, what it bypassed was wood printing, where you had to carve the letters on a big flat sheet of wood and it was used just for one page containers and you could rearrange the letters in it and that's one page, and then you take the letters out and you rearrange another page. I think what he did, he didn't bypass the, he didn't bypass the. Well, he bypassed writing, basically you know because the monks were doing the writing, scribing, inscribing, so that bypassed. But what he bypassed was the laborious process of printing, because printing already existed. It's just that it was done with wood prints. You had to carve it. You had to have the carvers. The carvers were very angry at Gutenberg. They had protests, they had protests. They closed down the local universities. Protests against this guy, gutenberg, who put all the carvers out of work. Yeah, yeah, so, yeah. Dean: So then you have this capability and all of a sudden, europe goes crazy take vision and our, you know, newly defined progression of vision from a proposition to proof, to protocol, to property, that, if this was anything, any capability I believe has to start out with a vision, with a proposition. Hey, I bet that I could make cast letters that we could replace carving. That would be a proposition first, before it's a capability, right. So that would have to. I think you'd have to say that it all, it has, has to start with a vision. But I think that a vision is a good. I mean capabilities are a good, you know a good catalyst for vision, thinking about these things, how to improve them, what else does this, all the questions that come with a new capability, are really vision. They're all sparked by vision, right? Yeah, because what would Gutenberg? The progress that Gutenberg have to make is a proposition of. I bet I could cast individual letters, set up a little template, arrange them and then duplicate another page, use it, have it reusable. So let's get to work on that. Dan: And then he proved. Dean: The first time he printed a page he proved that, yeah, that does work. And then he sets up the protocol for it. Here's how we'll do it. Here's how. Here's the way we make these. Here's the molds for all these letters. He's created the protocol to create this printing press, the, the press, the printing press, and has it now as a capability that's available yeah well, we don't know that at all. Dan: We don't know whether he first of all. We have no knowledge of gutenberg, except that he created the first movable type printing press. Dean: Somebody had to have that. It had to start with the vision of it, the idea. It didn't just come fully formed right. Somebody had to have the proposition. Dan: Yeah, yeah, we don't know. We don't know how it happened. He know he's a goldsmith, I mean, that was so. He was used to melding metals and putting them into forms and you know, probably somebody asked him can you make somebody's name? Can you print out? You know, can you print a, d, e, a and then N for me? And he did that and you know, at some point he said oh, oh, what if I do it with lead? What if? I do it with yeah, because gold is too soft, it won't stand up. But right, he did it with lead. Maybe he died of lead poisoning really fast, huh yeah, that's funny, we don't know, yeah, yeah, I think the steel, you know iron came in. You know they melted iron and everything like that, but we don't know much about it. But I'll tell you the jump that I would say is the vision is that Martin Luther discovers printing and he says you know, we can bypass all the you know, control of information that the Catholic Church has. Now that's a vision. That's a vision Okay. That's a vision, okay, but I don't think Gutenberg had that. I mean, he doesn't play? Dean: Definitely yeah, yeah, I know I think that any yeah, jumping off the platform of a capability. You know what my thought is in terms of the working genius model, that that's the distinction between wonder and invention. That wonder would be wonder what else we could do with this, or how we could improve this, or what this opens up for us. And invention might be the other side of creating something that doesn't exist. Dan: I mean, if you go back to our London, you know our London encounter, where we each committed ourselves to writing a book in a week. Dean: Yes. Dan: You did that, I did that. And then my pushing the idea was that I could do 100 books in 100 quarters. Dean: Yeah, exactly. Dan: Yeah, I mean, that's where it came from. I says, oh, you can create a book really fast to do that. And then I just put a bigger number and so I stayed within the capability. I just multiplied the number of times that I was going to do the capability. So is that a vision, or is that? What is that? Is that a vision? A hundred books, well, not just a capability right. Dean: I think that the fact that you, we both had a proposition write a book and we both then set up the protocols for that, you set up your team and your process and now you've got that formula. So you have a capability called a book, a quarter for 25 years you know that's definitely in the, that that's a capability. Now it's an asset your team, the way that you do it, the formatting, the everything about it. But the vision you have to apply a vision to that capability. Hamish isn't going to sit there and create cartoons out of nothing. Create cartoons out of nothing. You've got to give the idea. The vision is I bet I could write a book on casting, not hiring, how I'm planning on living to 156. So you've got your applying vision against that capability, yeah. Dan: It's interesting because I don't go too far out of the realm of my capabilities when I project into the future. Yeah, so, for example, we did the three books with Ben Hardy, you know and great success, great success. And then we were going further and Hay House, the publisher, started to call us, you know, after we had written our last book in 23, around the beginning of 20, usually six months after. They want to know is there another book coming? Because they're filling up their forward schedule and they do about 90 books and they do about 90 books a year. And so they want to know do we have another one from you? And we said no not really. But then when I did Casting Not Hiring as a small book, and I did Casting Not Hiring as a small book to write a small book, in other words, I'd committed myself to 100 books and this was number 38. I think this was in the 38th quarter. And then Jeff Madoff and I were talking and I said you know, I think this Hay House keeps asking us for another book. I think this is probably it and we sent it to them. I think it was on a Thursday. We had a meeting with them the next Wednesday, which is really fast. It's like six days later I get a meeting and they love it, and about two weeks later the go-ahead came from the publisher that we were going to go with that book. Two weeks later, the go-ahead came from the publisher that we were going to go with that book. And so I've developed another capability that if you write a small book, it's easy to get a big book. Yeah. So that's where the capabilities develop now. Now when I'm writing a new quarterly book, I'm saying is this a big book? Is this a big book? Is this the yeah? Dean: well, I would argue that you know that you've established a reach relationship with Hay House. Dan: Yeah, yeah, because they're a big multiplier. Dean: That's exactly right. So you've got the vision of I want to do a book on casting, not hiring. I have the capability already in place to do the little book and now you've established a reach partnership with Hay House that they're the multiplier in all of this right Vision plus capability, multiplied by reach. And so those relationships that you know, those relationships that you have, are definitely a reach asset that you have because you've established that you know and you're a known quantity to them. You know. Dan: Yeah, well, they are now with the. You know the success of the first three books, yeah, but it's really interesting because I I don't push my mind too much further than that which I can. Actually, you know, like now I'm working on the big book with jeff jeff nettoff and with the first draft, complete draft, to be in a 26, and we're on schedule. We're on schedule for that. You know. So you know. But I don't have any aspirations. You know you drop this as a sentence. You know you want to change things. I actually don't want to change things. I just want to continue doing what I'm doing but have it more productive and more profitable. Is that a vision? I guess that's a vision. Dean: Yeah, I mean that's certainly, certainly. I think that part of this is that staying in your unique ability right, you're not fretting about what the you've made this relationship with a house and that gives you that reach, but there's nothing you're and they were purchased. Dan: They were purchased by random house, so they have massive bar reach. Dean: Wow yeah. Dan: I don't know what the exact nature of their relationship is but things take a little bit slower backstage at their end now, I've noticed as we go through, because they're dealing with a monstrous big operation, but I suspect the reach is better. Yeah, once it happens, right. Dean: And resources. Yeah, yeah, cash as capability, that's a big, you know that was a really good. That's been a big. Distinction too is the value of cash as a capability. Cash for the c, yeah, a lot, as well as cash for the k. But cash for the c specifically is a wonderful capability because with cash you can buy it solves a lot of problems. You can buy all the vision, capability and reach. That was a lot of problems. It really does. Dan: Yeah, yeah, yeah, I was out at dinner last night with Ken and Nancy, harlan you know, you know Ken, and and we were talking. He was talking about he's. He's 30, 33rd year and coach and he started in 92. And coach, and he started in 92 and and he he was just talking about how he has totally a self-managing company and you know he has great free days, and you know he just focuses on his own unique ability. You know so a lot of strategic coach boxes to check off there and he was talking and he was saying that he's been going to some other 10 times workshops. You know where people are and he spoke about someone who's actually a performer musical performer and he just saw himself as back in 1996 or 1997 as the other person spoke, and and, and he asked me the question he says when is the crossover when you stop being a rugged individualist and then you actually have great teamwork around you? Dean: And I said it's a really interesting question. Dan: I said it's when it occurs to you, based on your experience, that trusting other people is a lot less expensive than not trusting them. Dean: Right, that's a good distinction, right. That people often feel like I think that's the big block is that nobody trusts anybody to do it the way they would do it or as good as they can do it or they don't have it. You know, I think, even on the vision side, they may have proof of things, but they're the only one that knows the recipe. They haven't protocol and package to, you know, and I think that's really, I think, a job description or a you know, being able to define what a role is, you know, I think it's just hiring people isn't the answer, unless you have that capability, that new person now equipped with a, with a vision of what they, what their role is. Dan: You know yeah, yeah, I said it's also been my experience that trust comes easier when the cash is good. I think that's true right? Dean: Yeah, but they're not. I think that's really. Dan: I think the reason is you have enough money to pay for your mistakes. Dean: Yes, exactly, cash confidence. Yeah, it goes a long way. Dan: Yeah, I was thinking about Trump's reach. First of all, I think the president of the United States, automatically, regardless of who it is, has a lot of reach. Yes, for sure. Excuse me, sir, it's the president of the United States phoning. Do you take the call or don't take the call? I think you're right, yeah, absolutely. Take the call or don't take the call. I think you're right, yeah, absolutely. He says he's just imposed a 25% tariff on all your products coming into the United States. Dean: Do you care about that or do you not care about it? I suspect you care about it. I suspect. Imagine if he had a, you know if yeah, there was a 25% tariff on all strategic coach enrollments or members. Dan: Yeah Well, that's an interesting thing. None of this affects services. Dean: Right. Dan: Yeah, Because it's hard to measure Well first of all, it's hard to detect and the other thing, it's hard to measure what actually happened. This is an interesting discussion. The invisibility of the service world. Dean: Yeah, it's true, right. And also the knowledge you know like coming into something, whatever you know, your brain and something going across borders is a very different. Dan: Yeah it's very interesting. The Globe and Mail had an article it was in January, I think it was and it showed the top 10 companies in Canada that had gotten patents and the number of patents for the past 12 months, and I think TD Bank was 240, 240. And that sounds impressive, until you realize that a company like Google or Apple would have had 10,000 new patents over the previous 12 months. Dean: Yeah, it's crazy right. Dan: Patent after patent. Dean: Yeah. Dan: And my sense is, if you measure the imbalance in trade let's say the United States versus Canada there's a trade deficit. Trade. Let's say the United States versus Canada there's a trade deficit. Canada sells more into the United States than the United States sells into Canada, but that's only talking about products. I bet the United States sells far more services into Canada than Canada does into the United States. I bet you're right. Yeah, and I bet the services are more profitable. Yeah so for example, apple Watches, the construction of Apple Watches, which happens outside of the United States. Nobody makes a profit. Nobody makes a profit. They can pay for a job, but they don't actually make a profit. All they can do is pay for jobs. China can only pay for jobs, thailand, all the other countries they can only pay. And when it gets back, you know you complete the complete loop. From the idea of the Apple Watch as it goes out into the world and it's constructed and brought back into the United States. All the profit is in the United States. All the profit is in the United States. The greatest profit is actually the design of the Apple Watch, which is all done in the United States. So I think this tariff thing is coming along at an interesting period. It's that products as such are less and less an important part of the economy. Dean: Yeah Well, I've often wondered that, like you know, we're certainly, we're definitely at a point where they were in the economy, where you could get something from. You know. You know I mean facebook and google and youtube. You know all of these companies there's. No, they wouldn't have anything that shows up on any balance sheet of physical goods. You know, it's all just ones and zeros. Dan: Yeah. I mean it doesn't happen anymore, but because we have. You know, nexus, when Babs and I crossed the border, we have trusted, trusted traveler coming this way which also requires us that we look into a camera and then go and check in to the official and he looks at us and all he wants to know is how many bags do you have that have? Dean: been in. Dan: And we tell him. That's all we tell him. He doesn't tell us anything we're bringing into the United States and he doesn't tell us anything we're bringing into the United States. And then, when we come back to Canada, we just have our Nexus card which goes into a machine, we look into a camera and a sheet of paper comes out. And the customs official or the immigration official, just you know, puts a red pen to it, which means that he saw it, and then you go out there. But you know, when we started, coach, we would have to go through a long line. We'd have our passport, and then the person would say what are you bringing? And then we'd have to fill in a card are you bringing this back into canada? Dean: exactly, yeah, you remember the remember and what's the total. Dan: You know the total price of everything that you purchased, everything. Dean: And I used to think. Dan: I said you know, I was in Chicago and I just came up with an idea. It's a million dollar idea. Do I declare that I had the good sense not to declare my million-dollar idea because then they would have taken me in the back room. You know, if I had said that, what are you? Why are you trying to screw around? Dean: with our mind. You'll have to undergo a cavity search to. Dan: So what I'm saying is that what's really valuable has become intangible more and more so just in the 30 years or so of so of coach you know that and it's like the patents. Dean: you know we've had all the patents appraised and there's an asset value, but yeah, because this is an interesting thing that in the or 30 years ago you had to in order to spread an idea. You had to print booklets and tape. I remember the first thing what year did you do how the Best Get Better? That was one of the first things that you did, right? Dan: Right around 2000 or so. In fact, you're catching me in a very vulnerable situation. That's okay. Dean: I mean it had to be. Dan: Okay. Dean: But I think that whole idea of the entrepreneurial time system and unique ability, those things, I remember it being in a little container with the booklet and the cassette. Dan: You know crazy, but that's but yeah, because I think it was. I think it was, was it a disc or a cassette, cassette? So yeah, well, that would have mid nineties. Dean: Yeah, that's what I mean. I think that was my introduction to coach, that I saw that. Dan: but amazing, right, but that just the distribution of stuff now that we have access yeah well, it just tells you that the how much the entire economy has changed in 30 years. From tangible to intangible, the value of things, the value of what do you? Value and where does it come from? Dean: And yeah. Dan: I think all of us in the thinking business. The forces are on our side, I agree. Dean: That's such a great talking with Chad. Earlier this morning I was on my way to Honeycomb and I was thinking, you know, we've come to a point where we really it's like everything that we physically have to do is being kind of taken away. You know that we don't have to actually do anything. You know, I got in my car and I literally said, take me to Honeycomb, and the car drives itself to Honeycomb. And then, you know, I get out and I know exactly what I want, but I just show them my phone and the phone automatically, you know, apple Pay takes the money right out of my account. I don't have to do anything. I just think, man, we're moving into that. The friction between idea and execution is really disappearing. I think so. So the thing to be able to keep up, it's just collecting capabilities. Collecting capabilities is a. That's the conduit. You know, capabilities and tasks. Dan: Well, it's yeah and it's really interesting. But we're also into a world where there's two types of thinking world. There is there's kind of a creative thinking world, where you're thinking about new things, and there's another world thinking about things, but you're just thinking about the things that already already exist yeah, my feeling is and usually that requires higher education college education you know, and all my feel is that they're the number one targets of AI is everybody who does a lot of thinking, but it's not creative thinking. Ai will replace whatever they're doing. And my sense is that this is why the Doge thing is so devastating to government. I mean, I'll just test this out on you. Elon Musk and his team send every federal employee and at the start of the year there were 2.4 million federal government employees and that excludes the, the military. So the military is not part of that 2.4 million and the post office is not part of those are excluded from. Everybody else is included in there. And he sent out a letter he says could just return by return email. Tell us the five things that you did last week. And it was extraordinarily difficult for the federal employees to say what they did last. That would be understandable to someone who wasn't in their world. And I think the majority of them were meetings and reports, uh-huh. Yes, about what? About meetings and reports, uh-huh. Dean: Yes, about what? About meetings and reports yeah, we had the meeting about the report. Dan: Yeah, and then scheduled another meeting To discuss the further follow-up of the report. Dean: Yeah, At least in the entrepreneurial world the things are about you know, yeah. Dan: I mean if you said I sent the memo to you and said, dean Jackson, please tell me it would be interesting stuff that you wrote back. I mean the stuff that you wrote back and you say just five, just five. You know, I can tell you 15 things I did last week, you know, and each of them would be probably an interesting subject. It would be an interesting topic is the division between that bureaucratic world. The guess coming out of the Doge project is if we fired half of federal government employees, it wouldn't be noticed by the taxpayers. Dean: Right, it's like a big Jenga puzzle. Dan: How many can? Dean: we pull out before it all crumbles. Dan: Yeah, because there's been virtually no complaints, like all the pension checks came when they should. All the you know everything like that. The Medicare, everything came. Dean: But what? Dan: they found and this is the one, this is the end joke here that they just went to the Small Business Administration and they examined $600 million worth of loans last year and 300 million of them went to children 11 years or younger who had a Social Security number. Dean: Is that true? Dan: Yeah, and 300 million went to Americans older than 120 who had an active Social Security number. Dean: Wow, now, that's just. Dan: Yeah, but that $600 million went to somebody. 0:48:51 - Dean: Yeah, it went somewhere. Dan: right, they were checks and they went to individuals who had this name and they had Social Security number. We had this name and they had social security number and those individuals don't those individuals. The person receiving the check is not the individual who it was written to. So that's like 600 million. Yeah, and they're just finding this all over the place. These amazing amounts of money and the Treasury Department last year couldn't account for $1.2 trillion. Dean: They couldn't account for where it went.2 trillion, you know. Dan: You know, that seems dr evo's one trillion exactly. Yeah, well, it's going somewhere, and if they cut it off, I bet those people are noticed yeah, I bet you're right, I think there's. This is the great audit we're in the age of the great. We're in the age of the great audit. Anyway, I have daniel white waiting for me, okay this was a good one, daniel yeah, it was good, this was a good one. This tangibility thing is really an interesting subject and intangibility Absolutely. Dean: All right, thank you, dan. Say hi to Daniel for me Next week. Dan: I'm booked socially all day, so take a two-week break.

As a property manager, you're familiar with the uncomfortable shuffle when trying to ensure utilities are set up correctly at move-in. What if you could make the whole process easier? In this episode of the Property Management Growth Show, property management growth expert Jason Hull sits down with the founder of Utility Profit, Zac Maurais, to discuss wires, pipes, and signals: Everything you wish you knew about home utilities. You'll Learn [01:48] How Zac Built a $100 Million Business [07:38] Solving Utility Challenges with a Streamlined Tool [15:54] Using Utility Profit to Make Extra Profit [23:26] Integrations and Frequently Asked Questions [30:20] Take Action on The Things You're Avoiding! Quotables “I think the secret to being smart is just being willing to look stupid.” “Done is better than perfect.” “Have a bias for action. Get your hands dirty. Do it yourself.” “ Whatever it is that you think that's holding you back, just start trying to do it.” Resources DoorGrow and Scale Mastermind DoorGrow Academy DoorGrow on YouTube DoorGrowClub DoorGrowLive Transcript [00:00:00] Zac: It's almost like we're like taking the Yellow Pages and then putting it online or something. Yeah. I mean, it's kind of a wacky problem that we're solving there.  [00:00:08] Jason: So you're single handedly bringing the utility space into the future. So, All right. [00:00:16] Jason: Welcome DoorGrow Property Managers to the Property Management Growth Show. If you are a property management entrepreneur and you want to add doors, you want to make a difference, you want to increase revenue, you want to help others, you want to impact lives, and you're interested in growing in business and life, and you're open to doing things a bit differently, then you are a DoorGrow property manager and you just don't know it. DoorGrow property managers love the opportunities, daily variety, unique challenges and freedom that property management brings. Many in real estate think you're crazy for doing it. [00:00:47] Jason: You think they're crazy for not because you realize that property management is the ultimate high trust gateway to real estate deals, relationships, and residual income. At DoorGrow, we are on a mission to transform property management business owners and their businesses. We want to transform the industry, eliminate the bs, build awareness, change perception, expand the market, and help the best property management entrepreneurs win. [00:01:13] Jason: I'm your host, property management growth expert, Jason Hull, the founder and CEO of DoorGrow. Now let's get into the show and I'm hanging out today with Zac Maurais. Did I say it right?  [00:01:25] Jason: That's right, yes.  [00:01:26] Jason: Hey. All right, cool. It's great to have you on the show. So Zac we're going to be chatting today about wires, pipes, and signals, everything you wish you knew about home utilities. [00:01:38] Jason: I think this will be interesting to our listeners because, you know, we get into this stuff as property management people. So, so Zac before we get into that though, give us a little backstory on you. How'd you get into being an entrepreneur? When did you first figure that out, that you maybe were one and then we can get into why you started this business so that you've got going and tell us, tell everybody about it. [00:01:58] Jason: Cool.  [00:02:00] Zac: Let's do it. Yeah. So, quick intro myself, I live here in Austin, Texas. I've been an entrepreneur now for better part of a decade and a half. Right out of college I started a business it was actually a food delivery business called Favor. We ended up scaling that business to having 50,000 delivery drivers in the state of Texas. [00:02:22] Zac: So it was the second largest employer in the state. And over the course of building it up over a couple of years, we were doing over a hundred million dollars of food sales a year. So sizable company and we sold that to HEB grocery and yeah.  [00:02:38] Jason: And if people don't know, HEB I'm in the Austin area, I'm up in Round Rock. [00:02:41] Jason: But if people don't know HEB. HEB consistently wins the best grocery store awards like in America every year. Like it's always winning.  [00:02:51] Zac: It's kind of amazing. I mean, they are an institution. There's so many small towns across Texas where the only show in town, I would kind of say it's akin to like a Walmart or something like that for a national brand that people would be more familiar with. [00:03:04] Zac: Family run business, been around for a hundred years. So it's cool that it had joined forces with Favor. And learned a lot from doing that company. I mean, at the time that we sold it, we had over 140 corporate employees, designers and software engineers and business intelligence people and salespeople. [00:03:24] Zac: So I'm right there with you, Jason, where I like growth. I like growing things and learning about business and learning about new categories. So as I sold it, I was looking for the next thing to do.  [00:03:35] Jason: So people are clear, Favor, and you can correct me if I'm wrong, but Favor competes with like Instacart and like some of these, it's like a delivery service. [00:03:44] Zac: That's right. So the way that the service worked was, it was like an on demand. It was part of the on demand delivery kind of thing that was happening. The gig economy, you know, people will probably remember Lyft coming out and Uber. There wasn't one for delivery of kind of like fast casual food or groceries yet. [00:04:02] Zac: And we brought that into the market. We had first mover.  [00:04:05] Jason: Oh yeah. So yeah, it's kind of like Uber Eats and, you know, these kind of things.  [00:04:08] Zac: Exactly. So you could tap a button, request a Favor, and then someone would go shopping for you, go pick up some tacos or yeah, run at the grocery store or something like that and bring it to you in 45 minutes or less. [00:04:20] Jason: Got it. And is Favor just a Texas thing?  [00:04:23] Zac: At one point in time we tried to go national expansion, but it was a bit of a wartime thing that was going on. Yeah. A lot of VC dollars getting put in. And we had a very strong Texas brand. We had over a million people in Texas using it. [00:04:37] Zac: Yes. So we said we just doubled down on home base.  [00:04:40] Jason: I mean, Texas is like its own little universe. We've got Favor, we've got HEB, we've got, you know, there's all these things that are just specifically Texas. So if y'all come to Texas, you got to like experience the whole Texas deal. You got to go to an HEB, you got to go to Bucky's, you got to go to all these things, right? [00:04:56] Zac: So yeah, right. When you're here in town for Jason's event, go get yourself some Yeti swag.  [00:05:02] Jason: Yes.  [00:05:02] Zac: And then order yourself a Favor.  [00:05:04] Jason: Yes. There you go. Yeah. Cool. Yeah, and people get really religious about their, you know, things like Yeti. It's like Yeti Mecca. Like people, like my brother-in-law comes into town. He is like, "I got to go to the Yeti store." He's like, just like starry-eyed in there. And I'm like, "why? Why?" Coolers, thermases? I don't know. Cool drinks. Yeah. Yeah. It's a thing. So he like collects them, and then sometimes he's flipping them too. Like there's limited edition things, so. My brother-in-law's name is Jason also, so he might listen to this. [00:05:36] Jason: So Jason, I mentioned you on my podcast, so, all right.  [00:05:39] Jason: Shout out to Jason.  [00:05:41] Jason: Shout out to Jason. So, cool. So Zac, I mean, that's a pretty impressive thing. Not many people can say they built a hundred million dollar, you know, business or had an exit or something like that. So, and then what did you do next? [00:05:55] Jason: Like, you sell this thing, did you lose all meaning and purpose in life and decide to start a new business or what happened?  [00:06:01] Zac: I think that happens with some people, right? You sell it, you have somebody, you're like, "what am I going to do with my life now?" I'm going to take a good thing and somehow it becomes a bad thing. [00:06:09] Zac: But I just, I really like building. And I like the process of entrepreneurship where you talk to people, you try to find a problem and you like go hit a whiteboard, you sketch, it becomes more tangible, and then all of a sudden you can partner with an engineer and make it and then bring it back to the customer. [00:06:26] Zac: And I just like that. It kind of just scratches something in my brain, I think. And something else that's been cool for me on my entrepreneurship journey. I had mentioned that I've been doing it now for a decade and a half and the entire time that I've been working and doing startups, I've been doing it with like my best friend Ben from growing up together. [00:06:45] Zac: We  [00:06:46] Jason: best friend Ben.  [00:06:46] Zac: wen to school in New Hampshire. And it's fun to be able to go on that journey with someone like that.  [00:06:52] Jason: Yeah. That's cool. So you and Ben are still doing stuff together then.  [00:06:55] Zac: Right.  [00:06:56] Jason: Yeah. Third company.  [00:06:57] Zac: Third company now, so.  [00:06:59] Jason: Yeah. Dynamic duo. All right. And so I imagine that you have some complimentary sort of skill sets and challenge each other a bit. [00:07:08] Zac: Yeah, I think our brains have kind of been swapped and became more of the same brain. But the way that I explained it originally was like Ben was the left brain engineer, right? He is going to build out the backend database. He was a civil engineer, so he was just constantly doing math. And then I was more of the, you can kind of see there's some paintings behind me, like I was the artist.  [00:07:30] Jason: The right brain guy. Yeah. Got it.  [00:07:32] Zac: But now it just kind of became one, somewhere between now. He kind of went a little bit more right. I went more left, so.  [00:07:38] Jason: Cool. So bring us up towards the present day. So like, what are you and Ben, you know, getting together and working on? [00:07:45] Zac: Yeah, so I guess the way that we got into the property management industry was we were trying to build some leasing automation tech over the last few years. We had something called Sunroom Leasing, and it was like a platform that would help. With self showings, with different things related to collecting some data from renters about the home. [00:08:05] Zac: We had at one point in time, around 8,000 homes that were leasing across the country for some real estate investment trusts and some large scale property managers. And it kind of turned us on to this like, it had some challenges I think of that scale. And so we ended up realizing that's not what we want to do long term. [00:08:26] Zac: And something that it was like a good ride, but I think we were onto something that could be more scalable and a more acute problem to solve.  [00:08:35] Jason: Yeah, this was like a tuition business. You're learning and paying the price of tuition. Yeah. So you got familiar with the property management industry a bit through that. [00:08:44] Jason: That's right. Figured out kind of your target audience and you probably started to see some different problems you like started scheming with your whiteboard on, so.  [00:08:52] Zac: Yeah, and the problem that we zoomed into was around utility setup. And what we thought was kind of a silly thing was, here it is, it's 2024. [00:09:01] Zac: This was last year that we had launched it. We realized that there wasn't like a Google Maps of utilities. We thought it was silly that you couldn't just type in an address online and then see what's the water, what's the electric, what's the gas, what's the internet? There was no transparency for that. [00:09:20] Zac: And when we looked closer, there's like, you zoom in on water, there's over 20,000 water providers and they have really weird setups, you know, or it could be down just by the neighborhood or the zip code or the, you know, it's just wacky the way that the mapping works. And we thought if we could build out the whole mapping infrastructure, that would be a valuable thing, both for owners of the property that just want to have a more streamlined process, property managers that are doing it every day, and then renters. If you kind of think of this problem of setting up utilities while it's annoying and they have to Google around and make a bunch of phone calls, this is just one problem within a whole, you know, iceberg of other things. It's just the tip, small thing that they're doing a ton of things related to the move. We thought that if we could streamline this, then it could have a broad appeal and be something that we could do nationally and do at a big scale. So, over the last year, what we've done is we've built out that infrastructure to be able to do mapping at scale. [00:10:21] Zac: And we have built a platform that streamlines the process of turning on utilities. We're trying to make the utility on switch and it's a cool tool because the property managers using it can get confirmation that utilities have been set up correctly. And this is helpful for them because, you know, if you don't turn on the electricity and it's the dead of winter, you're probably going to have some problems on your hands with pipes bursting, you know, and things like that. [00:10:48] Zac: So, it's a useful tool in the process.  [00:10:51] Jason: So let's talk about this problem, right? This is super annoying. Like everybody that's moved has had to figure out this weird, you know, puzzle to like, which utility providers are available here? Which internet provider can I use? What are my options? Can I get this cool fiber, you know, thing, can I get this? Is there..? Like what's available? Then they're trying to figure out like water, electric. You're maybe trying to find out from the previous owner or somebody and you're trying to like negotiate all this and then like getting things switched and then the timelines like it's a mess. [00:11:25] Jason: Like it's really annoying and yeah, it's like why do we just deal with this and put up with this? We're living in the age of AI and this AI revolution now and. Why isn't there a better solution to this? It seems like it's just like chaos and confusion. Yeah, so.  [00:11:45] Zac: It is chaos and confusion. Yeah. And people waste so much time doing it and oh god. [00:11:50] Zac: Yeah. And I think as a result, like sometimes people will just make sacrifices where they'll be like, well, I was on this telecom company before. Maybe I'll just go back to them. And then I might miss out on being able to be like, well, I could have had faster internet or a better plan that's cheaper or something If they had just...  [00:12:07] Jason: sure. Yeah.  [00:12:07] Zac: ...known that they had options.  [00:12:10] Jason: Right. You're like, man, I'm still using dial up. And I didn't realize Google Fiber was available here. Yeah, right.  [00:12:15] Zac: Throwing that in an old AOL like.  [00:12:18] Jason: Yes, I remember those days. I was such a nerd. Alright, so yeah, and people may maybe get impatient and they just make some quick decisions. [00:12:27] Jason: You know, and all these companies try to give them incentives like, Hey, if you move, like we'll move it and help you get it set up. And they try to make it seamless, but because they're trying to retain their, you know, the customer, but that might not be in the best interest of the customer.  [00:12:41] Zac: Totally. Yeah. So this we're in the spirit of trying to add transparency into the process, make it more streamlined. And and have a really lightweight tool like, you know, not another app you have to download, but just something that seamlessly fits in the move in process. Okay. [00:12:55] Zac: Integrates really well with the tools that the property manager is already using, you know, just is able to sync, in real time, figure out what are the addresses coming up, and then give the property manager a way to both communicate what the utilities are and then check that they've been turned on. [00:13:16] Zac: And then interestingly, there's a lot of places in the US where these telecom companies are competing. And they spent a lot of money to lay down these fiber optic lines, you know, or copper lines, and they're trying to recoup some of that cost. Yeah. And so they'll pay money for more customers. [00:13:35] Zac: And so we're able to generate revenue and then share that with property managers as an incentive to use the tool.  [00:13:43] Jason: Okay, cool. So what's the name of the tool or this service?  [00:13:46] Zac: It's called Utility Profit.  [00:13:48] Jason: Utility profit. Okay. All right. And it's P-R-O-F-I-T I would assume? Yep, exactly. Not like you're prophesying. [00:13:57] Jason: All right, got it. So Utility Profit, and so this really is solving that challenge to just streamline all that, and there's a financial incentive or benefit for the property manager helping to get these things connected.  [00:14:11] Zac: That's right. That's right. Yeah. And one of the...  [00:14:14] Jason: Win, win, win all the way around win. [00:14:15] Zac: Yeah, exactly. And that's the best type of tool. You know, something that it doesn't just benefit one party, but all the people involved. Yeah. And so, you know, it's exciting there. Now there's people across the entire United States using it. We've been helping thousands of renters per month. [00:14:32] Zac: Just in the last year there's been, I think over 750 property managers using it. Some really big ones with thousands of properties all the way down to people that just have a couple homes in the portfolio. I think the average has about 400 homes and, you know, it's really kind of empowering that we bring something to the world and that fast that many people are using it. [00:14:55] Zac: It's cool to see.  [00:14:56] Jason: Yeah. Cool. So. And Ben's leading the nerds on the team making this all work.  [00:15:02] Zac: Yeah, we're both working closely with engineers and, I mean, it's been a big lift. I mean, we've had to do all sorts of wacky things to be able to like get this data because like I said, it didn't exist. [00:15:12] Zac: I imagine. [00:15:13] Zac: We have to like literally go and draw service maps, you know, that were PDFs on old websites and then, you know, turn them into a structured database. Right. I, you know, pull it up correctly. Yeah.  [00:15:26] Jason: You're just doing this ground level legwork to like get... it's almost like you're transferring old records into a digital format. [00:15:35] Jason: You know? Yeah. So that people could play their MP3s or something. Yeah.  [00:15:38] Zac: It kind of feels like that. It's almost like we're like taking the Yellow Pages and then putting it online or something. Yeah. I mean, it's kind of a wacky problem that we're solving there.  [00:15:48] Jason: So you're single handedly bringing the utility space into the future, so.  [00:15:54] Zac: Yeah. And one thing that we've we've been doing over the last couple months that I think is pretty cool is that there's this whole industry that exists for the multifamily apartment space related to what they call as like fiber as an amenity or fiber to the home. [00:16:11] Zac: Yeah. And so the way it would work on multifamily would be, you know, these big telecoms would say, "Hey, we'll sell you a thousand units of internet and then we'll give you a discount for doing so. And then you can either kind of keep that for yourself or you can, you know, share that with your tenants as a way to help your apartments stand out from other apartments." [00:16:33] Zac: The apartments are i identifiable and also you know, easier for the telecoms to spot. The hard thing about homes is it's this long tail of properties and there hasn't been a good way to aggregate them. I think over the last few years there's been some, you know, real estate investment trusts that have got to scale. [00:16:54] Zac: And so it kind of got these telecom companies thinking, "Hey, maybe I should go you know, sell into this market, see if we can apply the same principles of this program from apartments to single family." But it hasn't yet been done at any sort of significant scale. It's kind of a new concept. Now that we have hundreds of thousands of homes, that we are effectively the on switch for, we're helping to source these deals. [00:17:20] Zac: And we're able to bring, you know, significant discount from retail pricing to property managers and consumers. So we we're adding that as a new program that we're doing. We're calling it like Fiber Ready Homes. So it's a cool thing because we can help property managers identify what portion of their portfolio has the underlying technology at the home to have, you know, hyper fast internet speeds. [00:17:47] Zac: Yeah. And then do all of the enrollment process and the billing process to be able to offer a program like this. And and it's pretty gnarly. Like the average property manager that will turn on this program can make tens of thousands of dollars a year. It's roughly $10 per month per door. [00:18:04] Zac: So if you're a 300 door property manager, this is about $18,000. 18,000 per year that you'd be able to generate. And just, you know, kind of free cash flows for enabling something that the renters want.  [00:18:18] Jason: Right. Just making more money and yeah, I mean, high speed internet also being able to bring that to your units. [00:18:26] Jason: It creates a bigger incentive for people to rent it. I mean, it's definitely something I research before I buy a home or move anywhere. I'm always like, what Internet's available there because my life is going to be happening through this. And a lot of more people working from home, especially since Covid. [00:18:41] Zac: True. Yeah, that's a good point. I mean, I think a lot of renters see internet more important than running water in some ways. I mean, it's like everyone's on Netflix and doing work from home calls. You know, it's just, it's super important for renters.  [00:18:55] Jason: Yeah, absolutely. Yeah. That's interesting. And it sucks though when you like if you rent somewhere and that you only have one option and it's not the option that you really want in that area because sometimes they've negotiated like, oh, it's Comcast cable or something like this, and it's low speed or whatever. [00:19:11] Zac: Yeah, that's right. Yeah. Sometimes you're kind of limited by what lines have been laid, and sometimes there's limited options, but it's cool because now we have these two programs. We have one, which is that one I just explained, and then we have a second one. We call it like a marketplace. So it'll truly show you everything that's available, every single company, every single speed all the details of it and help to facilitate just being able to turn it on a lot easier. [00:19:34] Jason: Got it. How does this work? Like a property manager gets set up in your system, they've got their properties, you know, in this, and then they can figure out the tenants when they're onboarding a new tenant, they're like, "Hey, before we give you keys and move you in, we want to make sure utilities are getting moved over." [00:19:49] Jason: So you help streamline this?  [00:19:51] Zac: That's right. Yeah. So it will connect seamlessly with property managers, property management software. Pull in the active listings that they have, and then it will have triggers around the move in date. So once someone's been approved and you have a move in date that's approaching. [00:20:08] Zac: It will send reminders and say, Hey, you know, you're moving in end of the month, like before you move in, please show that you've turned the electric on so that there's not going to be bill back problems and things like that.  [00:20:20] Zac: So, it handles the communication and then what's pretty cool about the tool too, is it's all white labeled. Utility Profit, it's not, you know, like a tenant friendly name, you know? Yeah. It's really for the property manager. And so, okay. We're just helping to facilitate these things. So it's got the property manager's logo, you know, we're more just the underlying technology, which I think is good because like a renter in the process doesn't want to get handed off to another third party. [00:20:48] Zac: They just want to... [00:20:49] Jason: yeah, "Who are these guys? Why should I trust them? I trust you. I'm working with you," but yeah. Got it. No, I think that's really smart. And so your business model then, your growth strategy really is to leverage and support the property managers.  [00:21:02] Zac: Yeah, exactly. Yeah. We're trying to partner with all the property managers in the single family rental space. [00:21:08] Zac: And you know, last I checked, you know, there's at least five to 10 million homes that are managed by third party property managers. And we want to become the main place where where people used to turn on utilities. And you know, we talked about entrepreneurs and having a big vision earlier in the call. [00:21:26] Zac: You know, I think we're solving an important problem by building this Google Maps of Utilities and also just making a better experience. I think anytime we start a business though, you're kind of thinking about like, okay, "Well if I'm able to pull this off, how could this even be even more significant long term?" [00:21:42] Zac: And one of the things that I've been just thinking about as I've been doing it is you know, today we are helping to connect the dots between these things, but I bet in the not too distant future, maybe a few years out, we'll be responsible for millions of homes in helping to turn on these utilities. [00:21:59] Jason: Yeah.  [00:22:00] Zac: We'll probably want to go down the stack of utilities, you know, instead of just directing you to be going to, you know, XYZ local power source. Maybe they get directed to a company that, similar to how we're able to get discounts on internet because we have so much scale, we could buy energy contracts in deregulated markets and, you know,  [00:22:22] Jason: okay. [00:22:22] Zac: Inch down becoming a utility.  [00:22:24] Zac: Okay.  [00:22:24] Zac: And so, I think it's a, it's an interesting thing.  [00:22:27] Jason: So you're saying maybe there's a potential the property manager could be the utility?  [00:22:32] Zac: We'll be able to help the property manager earn more money... [00:22:35] Zac: yeah. [00:22:35] Zac: ...on this process because we...  [00:22:38] Zac: just more margin [00:22:38] Zac: ...want to direct them to like a utility that we own. And we're able to help them monetize these other things like natural gas and electricity.  [00:22:49] Jason: Got it. Love it. Yeah. You're passing the benefit onto the property manager. So, yeah. That gives them quite an incentive to help you grow this. [00:22:55] Jason: Right. So I love it. So, I mean, this really gives property managers a strong competitive advantage over self-management then. [00:23:03] Zac: Yeah, I think so. You know, I think property managers, they have so many things that they're doing and this is one of those set it and forget it types of tools. You know, it's not something you have to have mastery over and like learn another thing, this is like you get on, you set the thing up, you get the logo added and get it synced to your PM software and then you're done with it and it just kind of is happening in the background and then just notifies you. [00:23:26] Jason: Got it. So the setup is pretty easy and then it makes it a lot easier for the property management team to make sure utilities are getting set up correctly. There's visibility into seeing what's been set up and what hasn't, it sounds like. And you mentioned integrations with property management software, and I know everybody listening's like, "but what about my software? The one I'm using?" Yeah. So what integrations do you guys have set up already?  [00:23:49] Zac: It's all the major ones. So what we find is like AppFolio is popular. Rentvine is becoming more and more popular. You know, Propertyware is another one. Buildium's one that we you know, have in the works too, but yeah, I think most people... [00:24:04] Zac: Rent manager? [00:24:05] Zac: Rent manager, yeah. That's one that we work with too. Yeah. I know there's a lot of options for property managers there, but yeah. [00:24:11] Jason: Very cool. Yeah. So everybody listening there. There you go. So they're like, "oh, he mentioned mine. I'm okay."  [00:24:17] Zac: Yeah, that's right. Yeah it's cool that it, you know, just works in a broad way like that. And it's kind of interesting too that the tool even is able to work you know, even if you don't even have a property management software to figure out some ways to you know, even work in that use case. [00:24:32] Jason: Sure.  [00:24:32] Zac: But most people have software.  [00:24:34] Jason: So as long as you can get the properties like into your system, then...?  [00:24:38] Jason: That's right.  [00:24:38] Jason: Got it. Okay, cool. But if they have those then and you have that connection, then it's, yeah, it'll just streamline things. Makes it even more turnkey.  [00:24:47] Zac: That's right.  [00:24:48] Jason: Got it. Cool. So, all right, so you, what else should people know about this? [00:24:52] Jason: Like what are the big questions property managers have been asking you?  [00:24:55] Zac: I think one question is, you know, how much money I earn from this? You know? Okay.  [00:24:59] Jason: They like, they want to know about the money. Let's talk about the money.  [00:25:03] Zac: So the average property manager will, it's a range of 25 to $40 per move that, that happens. [00:25:10] Zac: It ends up being about 25 to, to $30 on average is what we're seeing across the country. And so I think it's one of those things where it's like nice gravy. What we find is that the average property manager, they're like, "this is nice. I can make some extra money from it." But I think it's like, you know, not enough to go, you know, it just adds to the bottom line a little bit. [00:25:32] Zac: Every little thing. Sure. So the main reason why people use it is the time savings, you know? Absolutely. It's just one last thing to have to worry about. So that's that's what we're seeing as we talk to people.  [00:25:44] Jason: Yeah. Yeah, because I mean, just the amount of time you're paying a team member, if they're like 25 to $35 an hour, for example you know, they might be spending an hour or two here or there just calling, trying to negotiate back and forth with the tenant, get these things set up so. [00:25:59] Zac: Property management some days feels like death by a thousand mosquitoes.  [00:26:04] Jason: Oh yeah. I often joke it's, it can be death by a thousand cuts or it can be a really well oiled systemizable machine, but yeah. [00:26:12] Jason: Yeah, absolutely. So, yeah, it offsets a little bit at the move in cost and then just the time savings. You're not having to pay your team to do all this communication. And you know, speed in onboarding is a real challenge for a lot of companies that are really in a high growth sort of state. [00:26:28] Jason: Like small companies might have a hard time just onboarding 10 units in a month, you know? Yeah. And larger companies, it can be pretty hairy if things aren't well dialed in.  [00:26:36] Zac: Yeah, I think that's a good point. It's all about having the systems in place. So that they scale.  [00:26:40] Jason: Very cool. [00:26:41] Jason: Well, is there anything else you think people should know about utility profit? And then we can get into like, how can they connect and get something like this going?  [00:26:50] Zac: Yeah. So the website's, utilityprofit.com.  [00:26:53] Jason: Okay.  [00:26:53] Zac: And it has some more information about how it works and has has some videos of the actual product. [00:26:59] Zac: You can see what it looks like from the renter's perspective, from your perspective and the dashboard that gives transparency. And and it kind of just walks you through everything about the product. And then there's a way on the website to be able to either book a demo if you have any questions about how something works. [00:27:17] Zac: And then, what we do is we'll just help you do like an onboarding call where we have people connect their PM software, upload a logo, invite their team members, really simple, straightforward process and then and then it's kind of good to go. So it's very streamlined thing. People typically will do it and it'll be live same day. [00:27:38] Zac: It's not like some big heavy lift or something. You just kind of go through this 15 minute process. We help you get it all synced up and then it's good to go.  [00:27:45] Jason: So, there's competition out there, right? Like this is a new thing in the space, but previously there's all these companies that try to, you know, negotiate and be able to pull in money and by being the person that gets people on a certain internet service or gets people and they get these kickbacks from the companies and that's how they make their money. [00:28:03] Jason: How do you feel like utility profits sort of stands out from those and I mean, my guess is you have the database, you have the data, like your ability to streamline. You're not having to go and start doing research and that you're just much faster.  [00:28:17] Zac: Yeah, I think that's exactly it. So there's been this whole category over the last couple years that's called a home concierge. [00:28:25] Zac: Yeah. And it's historically been like a call center model. Yeah. Where a rep will get the address and they'll, on your behalf, Google around, make some calls, you know, go try to set things up. And I think that was a helpful first step, and it seems like the natural thing that, that the industry would've been doing. [00:28:43] Zac: But this is just the natural progression of it, you know, building that database out, making it something that is like, you know, a true streamlined tool for everybody. And and just digitizing it a lot more.  [00:28:57] Jason: This is the future. This is the future. It's the next step. You're going to be a sponsor at DoorGrow Live. [00:29:02] Jason: So make sure, you know, everybody come to DoorGrow Live this year. Our theme this year is innovating the future of property management. And so we're going to be sharing innovative stuff. Innovative new models of pricing, not doing it the same way everybody else has been doing it, like percentage or flat fee. There's a lot of innovation and that's our goal at DoorGrow. We're always trying to figure out what are the most innovative stuff? We've got AI maintenance coordinators, we've got all sorts of stuff that are going to be showcased at this event. So if you don't want to be behind the times and have your lunch eaten by competitors and startups that are savvier and more focused on the future, make sure you come to DoorGrow Live. You're going to want to be there because the people that are at DoorGrow Live are going to be the ones that are getting a head start on these really effective cost, saving new tools, these ideas, they're going to help you have more profit in your business. [00:29:54] Jason: And so, Zac, we appreciate you being a sponsor. We're excited to showcase you and some other tools at our event, so.  [00:30:00] Zac: It's going to be fun. It'll be here right around the corner, so. [00:30:03] Jason: Check it out at doorgrowlive.com, and make sure you get your tickets. And we're going to be talking a little bit more in the future, probably on our podcast here. And just online about some of the cool things that you will get or learn if you come to DoorGrow Live this year in May at the Kalahari Resort in Round Rock, Texas. [00:30:20] Jason: So, cool. Well, Zac, is there anything else you want to share before you go? Parting word of wisdom for entrepreneurs out there that haven't had a hundred million dollar exits and built big giant things and they're just struggling to build their little machine, what would you say to them?  [00:30:36] Zac: I would just say like, whatever it is that you think that's holding you back, just start trying to do it. [00:30:43] Zac: You know? I think a lot of times you build up whatever it is in your head. And you think, "well, I would do it if I had this. Or what if I have to hire this person? Or, you know, I need to have this figured out, or I don't know how this works. Like I'm going to just say no to it." I would just say, just start doing it. [00:31:02] Zac: It doesn't have to be perfect to start. And the more you just take that first step it will become more clear and sometimes, it's harder to see the next 10 steps in front of you, but it's pretty easy to take that first step. So I'd say, have a bias for action. Get your hands dirty. Do it yourself. You have mentioned a lot of these things about AI and how the best companies are using ai. [00:31:25] Zac: We're really leaning into that as an organization. It doesn't matter what people's role is, we're saying. You know, download, ChatGPT three and talk to it. Ask it questions like, you know, there's so many cool resources today. It's the best time to figure things out and do things and and take that first step. [00:31:44] Jason: Yeah. GPT 4.5, we're getting clues of that's dropping and going to be out for everybody soon. And then Grok 3, I've been really geeking out on Grok 3, so it's pretty next level, so, but yeah. Cool. I love the idea. Done is better than perfect. I love the idea of rapid iteration. You know, so many times for those of you that are in the earlier stages of entrepreneurs listening to this, this is great advice because I've seen inside a lot of businesses, a lot of small businesses, and one of the biggest mistakes a lot of them make is they try to make everything perfect before they ship it, before they launch it. "I want to get all my processes dialed in," and they're trying to solve problems they don't even have yet. [00:32:20] Jason: They're trying to solve future problems instead of their current problem. And so rapid iteration really is the secret to growing a business quickly because you learn very fast what does and doesn't work. Just start trying shit. Just do it. Break stuff and you're going to learn way faster and everything's figureoutable, so.  [00:32:39] Zac: Yeah. And in that spirit, it doesn't matter what the thing is, you can always get feedback from it, even if it's not totally built yet, like it can be on a napkin, you know, or it could be the next level of that. But go build the thing in whatever low fidelity way. Yeah. [00:32:55] Zac: And then go talk to your customers about it. And this is going to have different applications for different types of business. because you're going to talk about different things. But you know, maybe you have a new program that you're thinking property owners might want to see, like get their feedback on it. [00:33:10] Zac: Or maybe you want to launch a new website or a new logo or whatever it is. I would just say, it doesn't have to be perfect, bring it but you have to get feedback on it. So definitely go and partner with who it is that is going to see it, and then just talk to them about it and say, "Well, how could this be better? What is this missing? What would be the next thing to do? If you could do anything with this, what would you do?" And, you know, people love to share advice. I mean, I think that's the other thing. Yeah. It's like over the last couple years since I've been doing entrepreneurship, I've been kind of amazed at how many people have been willing to share their time and their advice. [00:33:46] Zac: Yeah. And especially if you get an intro to someone from something. Yeah. You know, I think there's this huge thing of maybe you're afraid to ask for that intro or, you know, have that conversation because it's not perfect yet. I would say, you know, find the ideal person that you want to talk to and then figure out how to work backwards and how to get an intro to them and then have that conversation. [00:34:08] Zac: You know, I think you have to be vulnerable in it because you are going to come across dumb sometimes. You know, people are going to say like, "how did you not know this? Everyone knows this," but like, just lose your ego in that. Be okay with not being okay. And then you're going to feel a lot better because on the other side of it, you're going to learn so much. [00:34:27] Jason: Yeah, I think the secret to being smart is just being willing to look stupid. So, I mean, for sure. Ask the dumb question that you're afraid to ask because you're going to learn way faster. And I really think proximity is power. Like just another reason people should come to DoorGrow Live is I think we attract the most growth oriented property management, business owners in the industry and just being in proximity to all these sort of change makers and people trying new stuff and people experimenting, people willing to invest in themselves and to pay like coaches, like DoorGrow. And then I use all my clients as a mass rapid iteration sort of project. [00:35:05] Jason: Like we're always figuring out more and more stuff and I'm gathering these ideas and so we've got systems in place to just allow us to innovate in this industry a lot faster. And so we're really excited about bringing these kind of things to DoorGrow Live and showcasing it. [00:35:19] Jason: So if you're not part of our program, you're not one of our clients. Come check out the magic at DoorGrow Live. Connect with some of the people there and you might realize you found a home, so yeah, your family might be there. So yeah, entrepreneurs we're different breed of people. We, you know, we take risks, we're willing to try new things, and we're not focused primarily on safety and security. [00:35:39] Jason: We're focused more on fulfillment and freedom and contribution. And so this natural offshoot, entrepreneurs are the most helpful people, especially the healthy ones. When you're in a healthy growth-minded state, you want to benefit and help everybody. You're not gatekeeping information like people are sharing stuff and so yeah, I found the same thing to be true in the high level masterminds, coaches that I work with. [00:36:00] Jason: Like just being around the people in these programs has been probably the biggest benefit more than even learning from the guru or whoever that is sharing stuff sometimes. And so, yeah, proximity.  [00:36:11] Zac: Yeah, I think that's well said. You kind of become an average of the people that you spend most time with. [00:36:15] Zac: So if you're around, you know, someone who's going to be pessimistic about everything, then chances are, not going to try things as much. I mean, that, that was like one of the reasons why I had originally moved from, you know, where I was growing up in New Hampshire. I remember when I was pitching Favor when I was 20 something people were like, "ah, no one's going to pay five bucks for something like that. And how do you know how? You don't know how to code. You can't figure that out. Right? Go get a job like everybody else." And then I kind of moved and found my tribe you know, and in Silicon Valley area and then in Austin, Texas. And then next thing you know, I'm actually doing the thing.  [00:36:53] Jason: I think even if people just come to DoorGrow Live to connect with somebody like you and they can create a relationship with somebody like you or any of the change makers or players that we attract at our event. [00:37:05] Jason: I mean, you've done things that a lot of people would dream of being able to do in business, right. And so come make those connections, come to DoorGrow Live and make some connections because it's going to change your life for sure. So, well Zac, I appreciate you coming on the show. People can connect with your company at utilityprofit.com. [00:37:22] Jason: Do a demo. And it's been great having you here.  [00:37:26] Zac: Hey, thanks so much for having me on Jason.  [00:37:28] Jason: All right, so everybody, if you are struggling to grow your business or you're struggling to deal with operations, reach out to us. Check us out at DoorGrow.com. We would love to have a conversation, see if we might be able to help you with something. [00:37:39] Jason: And that's what we do all day long and we care about our clients. We really want to make sure that everybody succeeds. We only win if you're winning. And so until next time, everybody to our mutual growth, let's all win. Bye everyone. 

We are working with Amplify on the 2025 State of AI Engineering Survey to be presented at the AIE World's Fair in SF! Join the survey to shape the future of AI Eng!We first met Snipd over a year ago, and were immediately impressed by the design, but were doubtful about the behavior of snipping as the title behavior:Podcast apps are enormously sticky - Spotify spent almost $1b in podcast acquisitions and exclusive content just to get an 8% bump in market share among normies.However, after a disappointing Overcast 2.0 rewrite with no AI features in the last 3 years, I finally bit the bullet and switched to Snipd. It's 2025, your podcast app should be able to let you search transcripts of your podcasts. Snipd is the best implementation of this so far.And yet they keep shipping:What impressed us wasn't just how this tiny team of 4 was able to bootstrap a consumer AI app against massive titans and do so well; but also how seriously they think about learning through podcasts and improving retention of knowledge over time, aka “Duolingo for podcasts”. As an educational AI podcast, that's a mission we can get behind.Full Video PodFind us on YouTube! This was the first pod we've ever shot outdoors!Show Notes* How does Shazam work?* Flutter/FlutterFlow* wav2vec paper* Perplexity Online LLM* Google Search Grounding* Comparing Snipd transcription with our Bee episode* NIPS 2017 Flo Rida* Gustav Söderström - Background AudioTimestamps* [00:00:03] Takeaways from AI Engineer NYC* [00:00:17] Weather in New York.* [00:00:26] Swyx and Snipd.* [00:01:01] Kevin's AI summit experience.* [00:01:31] Zurich and AI.* [00:03:25] SigLIP authors join OpenAI.* [00:03:39] Zurich is very costly.* [00:04:06] The Snipd origin story.* [00:05:24] Introduction to machine learning.* [00:09:28] Snipd and user knowledge extraction.* [00:13:48] App's tech stack, Flutter, Python.* [00:15:11] How speakers are identified.* [00:18:29] The concept of "backgroundable" video.* [00:29:05] Voice cloning technology.* [00:31:03] Using AI agents.* [00:34:32] Snipd's future is multi-modal AI.* [00:36:37] Snipd and existing user behaviour.* [00:42:10] The app, summary, and timestamps.* [00:55:25] The future of AI and podcasting.* [1:14:55] Voice AITranscriptswyx [00:00:03]: Hey, I'm here in New York with Kevin Ben-Smith of Snipd. Welcome.Kevin [00:00:07]: Hi. Hi. Amazing to be here.swyx [00:00:09]: Yeah. This is our first ever, I think, outdoors podcast recording.Kevin [00:00:14]: It's quite a location for the first time, I have to say.swyx [00:00:18]: I was actually unsure because, you know, it's cold. It's like, I checked the temperature. It's like kind of one degree Celsius, but it's not that bad with the sun. No, it's quite nice. Yeah. Especially with our beautiful tea. With the tea. Yeah. Perfect. We're going to talk about Snips. I'm a Snips user. I'm a Snips user. I had to basically, you know, apart from Twitter, it's like the number one use app on my phone. Nice. When I wake up in the morning, I open Snips and I, you know, see what's new. And I think in terms of time spent or usage on my phone, I think it's number one or number two. Nice. Nice. So I really had to talk about it also because I think people interested in AI want to think about like, how can we, we're an AI podcast, we have to talk about the AI podcast app. But before we get there, we just finished. We just finished the AI Engineer Summit and you came for the two days. How was it?Kevin [00:01:07]: It was quite incredible. I mean, for me, the most valuable was just being in the same room with like-minded people who are building the future and who are seeing the future. You know, especially when it comes to AI agents, it's so often I have conversations with friends who are not in the AI world. And it's like so quickly it happens that you, it sounds like you're talking in science fiction. And it's just crazy talk. It was, you know, it's so refreshing to talk with so many other people who already see these things and yeah, be inspired then by them and not always feel like, like, okay, I think I'm just crazy. And like, this will never happen. It really is happening. And for me, it was very valuable. So day two, more relevant, more relevant for you than day one. Yeah. Day two. So day two was the engineering track. Yeah. That was definitely the most valuable for me. Like also as a producer. Practitioner myself, especially there were one or two talks that had to do with voice AI and AI agents with voice. Okay. So that was quite fascinating. Also spoke with the speakers afterwards. Yeah. And yeah, they were also very open and, and, you know, this, this sharing attitudes that's, I think in general, quite prevalent in the AI community. I also learned a lot, like really practical things that I can now take away with me. Yeah.swyx [00:02:25]: I mean, on my side, I, I think I watched only like half of the talks. Cause I was running around and I think people saw me like towards the end, I was kind of collapsing. I was on the floor, like, uh, towards the end because I, I needed to get, to get a rest, but yeah, I'm excited to watch the voice AI talks myself.Kevin [00:02:43]: Yeah. Yeah. Do that. And I mean, from my side, thanks a lot for organizing this conference for bringing everyone together. Do you have anything like this in Switzerland? The short answer is no. Um, I mean, I have to say the AI community in, especially Zurich, where. Yeah. Where we're, where we're based. Yeah. It is quite good. And it's growing, uh, especially driven by ETH, the, the technical university there and all of the big companies, they have AI teams there. Google, like Google has the biggest tech hub outside of the U S in Zurich. Yeah. Facebook is doing a lot in reality labs. Uh, Apple has a secret AI team, open AI and then SwapBit just announced that they're coming to Zurich. Yeah. Um, so there's a lot happening. Yeah.swyx [00:03:23]: So, yeah, uh, I think the most recent notable move, I think the entire vision team from Google. Uh, Lucas buyer, um, and, and all the other authors of Siglip left Google to join open AI, which I thought was like, it's like a big move for a whole team to move all at once at the same time. So I've been to Zurich and it just feels expensive. Like it's a great city. Yeah. It's great university, but I don't see it as like a business hub. Is it a business hub? I guess it is. Right.Kevin [00:03:51]: Like it's kind of, well, historically it's, uh, it's a finance hub, finance hub. Yeah. I mean, there are some, some large banks there, right? Especially UBS, uh, the, the largest wealth manager in the world, but it's really becoming more of a tech hub now with all of the big, uh, tech companies there.swyx [00:04:08]: I guess. Yeah. Yeah. And, but we, and research wise, it's all ETH. Yeah. There's some other things. Yeah. Yeah. Yeah.Kevin [00:04:13]: It's all driven by ETH. And then, uh, it's sister university EPFL, which is in Lausanne. Okay. Um, which they're also doing a lot, but, uh, it's, it's, it's really ETH. Uh, and otherwise, no, I mean, it's a beautiful, really beautiful city. I can recommend. To anyone. To come, uh, visit Zurich, uh, uh, let me know, happy to show you around and of course, you know, you, you have the nature so close, you have the mountains so close, you have so, so beautiful lakes. Yeah. Um, I think that's what makes it such a livable city. Yeah.swyx [00:04:42]: Um, and the cost is not, it's not cheap, but I mean, we're in New York city right now and, uh, I don't know, I paid $8 for a coffee this morning, so, uh, the coffee is cheaper in Zurich than the New York city. Okay. Okay. Let's talk about Snipt. What is Snipt and, you know, then we'll talk about your origin story, but I just, let's, let's get a crisp, what is Snipt? Yeah.Kevin [00:05:03]: I always see two definitions of Snipt, so I'll give you one really simple, straightforward one, and then a second more nuanced, um, which I think will be valuable for the rest of our conversation. So the most simple one is just to say, look, we're an AI powered podcast app. So if you listen to podcasts, we're now providing this AI enhanced experience. But if you look at the more nuanced, uh, podcast. Uh, perspective, it's actually, we, we've have a very big focus on people who like your audience who listened to podcasts to learn something new. Like your audience, you want, they want to learn about AI, what's happening, what's, what's, what's the latest research, what's going on. And we want to provide a, a spoken audio platform where you can do that most effectively. And AI is basically the way that we can achieve that. Yeah.swyx [00:05:53]: Means to an end. Yeah, exactly. When you started. Was it always meant to be AI or is it, was it more about the social sharing?Kevin [00:05:59]: So the first version that we ever released was like three and a half years ago. Okay. Yeah. So this was before ChatGPT. Before Whisper. Yeah. Before Whisper. Yeah. So I think a lot of the features that we now have in the app, they weren't really possible yet back then. But we already from the beginning, we always had the focus on knowledge. That's the reason why, you know, we in our team, why we listen to podcasts, but we did have a bit of a different approach. Like the idea in the very beginning was, so the name is Snips and you can create these, what we call Snips, which is basically a small snippet, like a clip from a, from a podcast. And we did envision sort of like a, like a social TikTok platform where some people would listen to full episodes and they would snip certain, like the best parts of it. And they would post that in a feed and other users would consume this feed of Snips. And use that as a discovery tool or just as a means to an end. And yeah, so you would have both people who create Snips and people who listen to Snips. So our big hypothesis in the beginning was, you know, it will be easy to get people to listen to these Snips, but super difficult to actually get them to create them. So we focused a lot of, a lot of our effort on making it as seamless and easy as possible to create a Snip. Yeah.swyx [00:07:17]: It's similar to TikTok. You need CapCut for there to be videos on TikTok. Exactly.Kevin [00:07:23]: And so for, for Snips, basically whenever you hear an amazing insight, a great moment, you can just triple tap your headphones. And our AI actually then saves the moment that you just listened to and summarizes it to create a note. And this is then basically a Snip. So yeah, we built, we built all of this, launched it. And what we found out was basically the exact opposite. So we saw that people use the Snips to discover podcasts, but they really, you know, they don't. You know, really love listening to long form podcasts, but they were creating Snips like crazy. And this was, this was definitely one of these aha moments when we realized like, hey, we should be really doubling down on the knowledge of learning of, yeah, helping you learn most effectively and helping you capture the knowledge that you listen to and actually do something with it. Because this is in general, you know, we, we live in this world where there's so much content and we consume and consume and consume. And it's so easy to just at the end of the podcast. You just start listening to the next podcast. And five minutes later, you've forgotten everything. 90%, 99% of what you've actually just learned. Yeah.swyx [00:08:31]: You don't know this, but, and most people don't know this, but this is my fourth podcast. My third podcast was a personal mixtape podcast where I Snipped manually sections of podcasts that I liked and added my own commentary on top of them and published them as small episodes. Nice. So those would be maybe five to 10 minute Snips. Yeah. And then I added something that I thought was a good story or like a good insight. And then I added my own commentary and published it as a separate podcast. It's cool. Is that still live? It's still live, but it's not active, but you can go back and find it. If you're, if, if you're curious enough, you'll see it. Nice. Yeah. You have to show me later. It was so manual because basically what my process would be, I hear something interesting. I note down the timestamp and I note down the URL of the podcast. I used to use Overcast. So it would just link to the Overcast page. And then. Put in my note taking app, go home. Whenever I feel like publishing, I will take one of those things and then download the MP3, clip out the MP3 and record my intro, outro and then publish it as a, as a podcast. But now Snips, I mean, I can just kind of double click or triple tap.Kevin [00:09:39]: I mean, those are very similar stories to what we hear from our users. You know, it's, it's normal that you're doing, you're doing something else while you're listening to a podcast. Yeah. A lot of our users, they're driving, they're working out, walking their dog. So in those moments when you hear something amazing, it's difficult to just write them down or, you know, you have to take out your phone. Some people take a screenshot, write down a timestamp, and then later on you have to go back and try to find it again. Of course you can't find it anymore because there's no search. There's no command F. And, um, these, these were all of the issues that, that, that we encountered also ourselves as users. And given that our background was in AI, we realized like, wait, hey, this is. This should not be the case. Like podcast apps today, they're still, they're basically repurposed music players, but we actually look at podcasts as one of the largest sources of knowledge in the world. And once you have that different angle of looking at it together with everything that AI is now enabling, you realize like, hey, this is not the way that we, that podcast apps should be. Yeah.swyx [00:10:41]: Yeah. I agree. You mentioned something that you said your background is in AI. Well, first of all, who's the team and what do you mean your background is in AI?Kevin [00:10:48]: Those are two very different things. I'm going to ask some questions. Yeah. Um, maybe starting with, with my backstory. Yeah. My backstory actually goes back, like, let's say 12 years ago or something like that. I moved to Zurich to study at ETH and actually I studied something completely different. I studied mathematics and economics basically with this specialization for quant finance. Same. Okay. Wow. All right. So yeah. And then as you know, all of these mathematical models for, um, asset pricing, derivative pricing, quantitative trading. And for me, the thing that, that fascinates me the most was the mathematical modeling behind it. Uh, mathematics, uh, statistics, but I was never really that passionate about the finance side of things.swyx [00:11:32]: Oh really? Oh, okay. Yeah. I mean, we're different there.Kevin [00:11:36]: I mean, one just, let's say symptom that I noticed now, like, like looking back during that time. Yeah. I think I never read an academic paper about the subject in my free time. And then it was towards the end of my studies. I was already working for a big bank. One of my best friends, he comes to me and says, Hey, I just took this course. You have to, you have to do this. You have to take this lecture. Okay. And I'm like, what, what, what is it about? It's called machine learning and I'm like, what, what, what kind of stupid name is that? Uh, so you sent me the slides and like over a weekend I went through all of the slides and I just, I just knew like freaking hell. Like this is it. I'm, I'm in love. Wow. Yeah. Okay. And that was then over the course of the next, I think like 12 months, I just really got into it. Started reading all about it, like reading blog posts, starting building my own models.swyx [00:12:26]: Was this course by a famous person, famous university? Was it like the Andrew Wayne Coursera thing? No.Kevin [00:12:31]: So this was a ETH course. So a professor at ETH. Did he teach in English by the way? Yeah. Okay.swyx [00:12:37]: So these slides are somewhere available. Yeah. Definitely. I mean, now they're quite outdated. Yeah. Sure. Well, I think, you know, reflecting on the finance thing for a bit. So I, I was, used to be a trader, uh, sell side and buy side. I was options trader first and then I was more like a quantitative hedge fund analyst. We never really use machine learning. It was more like a little bit of statistical modeling, but really like you, you fit, you know, your regression.Kevin [00:13:03]: No, I mean, that's, that's what it is. And, uh, or you, you solve partial differential equations and have then numerical methods to, to, to solve these. That's, that's for you. That's your degree. And that's, that's not really what you do at work. Right. Unless, well, I don't know what you do at work. In my job. No, no, we weren't solving the partial differential. Yeah.swyx [00:13:18]: You learn all this in school and then you don't use it.Kevin [00:13:20]: I mean, we, we, well, let's put it like that. Um, in some things, yeah, I mean, I did code algorithms that would do it, but it was basically like, it was the most basic algorithms and then you just like slightly improve them a little bit. Like you just tweak them here and there. Yeah. It wasn't like starting from scratch, like, Oh, here's this new partial differential equation. How do we know?swyx [00:13:43]: Yeah. Yeah. I mean, that's, that's real life, right? Most, most of it's kind of boring or you're, you're using established things because they're established because, uh, they tackle the most important topics. Um, yeah. Portfolio management was more interesting for me. Um, and, uh, we, we were sort of the first to combine like social data with, with quantitative trading. And I think, uh, I think now it's very common, but, um, yeah. Anyway, then you, you went, you went deep on machine learning and then what? You quit your job? Yeah. Yeah. Wow.Kevin [00:14:12]: I quit my job because, uh, um, I mean, I started using it at the bank as well. Like try, like, you know, I like desperately tried to find any kind of excuse to like use it here or there, but it just was clear to me, like, no, if I want to do this, um, like I just have to like make a real cut. So I quit my job and joined an early stage, uh, tech startup in Zurich where then built up the AI team over five years. Wow. Yeah. So yeah, we built various machine learning, uh, things for, for banks from like models for, for sales teams to identify which clients like which product to sell to them and with what reasons all the way to, we did a lot, a lot with bank transactions. One of the actually most fun projects for me was we had an, an NLP model that would take the booking text of a transaction, like a credit card transaction and pretty fired. Yeah. Because it had all of these, you know, like numbers in there and abbreviations and whatnot. And sometimes you look at it like, what, what is this? And it was just, you know, it would just change it to, I don't know, CVS. Yeah.swyx [00:15:15]: Yeah. But I mean, would you have hallucinations?Kevin [00:15:17]: No, no, no. The way that everything was set up, it wasn't like, it wasn't yet fully end to end generative, uh, neural network as what you would use today. Okay.swyx [00:15:30]: Awesome. And then when did you go like full time on Snips? Yeah.Kevin [00:15:33]: So basically that was, that was afterwards. I mean, how that started was the friend of mine who got me into machine learning, uh, him and I, uh, like he also got me interested into startups. He's had a big impact on my life. And the two of us were just a jam on, on like ideas for startups every now and then. And his background was also in AI data science. And we had a couple of ideas, but given that we were working full times, we were thinking about, uh, so we participated in Hack Zurich. That's, uh, Europe's biggest hackathon, um, or at least was at the time. And we said, Hey, this is just a weekend. Let's just try out an idea, like hack something together and see how it works. And the idea was that we'd be able to search through podcast episodes, like within a podcast. Yeah. So we did that. Long story short, uh, we managed to do it like to build something that we realized, Hey, this actually works. You can, you can find things again in podcasts. We had like a natural language search and we pitched it on stage. And we actually won the hackathon, which was cool. I mean, we, we also, I think we had a good, um, like a good, good pitch or a good example. So we, we used the famous Joe Rogan episode with Elon Musk where Elon Musk smokes a joint. Okay. Um, it's like a two and a half hour episode. So we were on stage and then we just searched for like smoking weed and it would find that exact moment. It will play it. And it just like, come on with Elon Musk, just like smoking. Oh, so it was video as well? No, it was actually completely based on audio. But we did have the video for the presentation. Yeah. Which had a, had of course an amazing effect. Yeah. Like this gave us a lot of activation energy, but it wasn't actually about winning the hackathon. Yeah. But the interesting thing that happened was after we pitched on stage, several of the other participants, like a lot of them came up to us and started saying like, Hey, can I use this? Like I have this issue. And like some also came up and told us about other problems that they have, like very adjacent to this with a podcast. Where's like, like this. Like, could, could I use this for that as well? And that was basically the, the moment where I realized, Hey, it's actually not just us who are having these issues with, with podcasts and getting to the, making the most out of this knowledge. Yeah. The other people. Yeah. That was now, I guess like four years ago or something like that. And then, yeah, we decided to quit our jobs and start, start this whole snip thing. Yeah. How big is the team now? We're just four people. Yeah. Just four people. Yeah. Like four. We're all technical. Yeah. Basically two on the, the backend side. So one of my co-founders is this person who got me into machine learning and startups. And we won the hackathon together. So we have two people for the backend side with the AI and all of the other backend things. And two for the front end side, building the app.swyx [00:18:18]: Which is mostly Android and iOS. Yeah.Kevin [00:18:21]: It's iOS and Android. We also have a watch app for, for Apple, but yeah, it's mostly iOS. Yeah.swyx [00:18:27]: The watch thing, it was very funny because in the, in the Latent Space discord, you know, most of us have been slowly adopting snips. You came to me like a year ago and you introduced snip to me. I was like, I don't know. I'm, you know, I'm very sticky to overcast and then slowly we switch. Why watch?Kevin [00:18:43]: So it goes back to a lot of our users, they do something else while, while listening to a podcast, right? Yeah. And one of the, us giving them the ability to then capture this knowledge, even though they're doing something else at the same time is one of the killer features. Yeah. Maybe I can actually, maybe at some point I should maybe give a bit more of an overview of what the, all of the features that we have. Sure. So this is one of the killer features and for one big use case that people use this for is for running. Yeah. So if you're a big runner, a big jogger or cycling, like really, really cycling competitively and a lot of the people, they don't want to take their phone with them when they go running. So you load everything onto the watch. So you can download episodes. I mean, if you, if you have an Apple watch that has internet access, like with a SIM card, you can also directly stream. That's also possible. Yeah. So of course it's a, it's basically very limited to just listening and snipping. And then you can see all of your snips later on your phone. Let me tell you this error I just got.swyx [00:19:47]: Error playing episode. Substack, the host of this podcast, does not allow this podcast to be played on an Apple watch. Yeah.Kevin [00:19:52]: That's a very beautiful thing. So we found out that all of the podcasts hosted on Substack, you cannot play them on an Apple watch. Why is this restriction? What? Like, don't ask me. We try to reach out to Substack. We try to reach out to some of the bigger podcasters who are hosting the podcast on Substack to also let them know. Substack doesn't seem to care. This is not specific to our app. You can also check out the Apple podcast app. Yeah. It's the same problem. It's just that we actually have identified it. And we tell the user what's going on.swyx [00:20:25]: I would say we host our podcast on Substack, but they're not very serious about their podcasting tools. I've told them before, I've been very upfront with them. So I don't feel like I'm shitting on them in any way. And it's kind of sad because otherwise it's a perfect creative platform. But the way that they treat podcasting as an afterthought, I think it's really disappointing.Kevin [00:20:45]: Maybe given that you mentioned all these features, maybe I can give a bit of a better overview of the features that we have. Let's do that. Let's do that. So I think we're mostly in our minds. Maybe for some of the listeners.swyx [00:20:55]: I mean, I'll tell you my version. Yeah. They can correct me, right? So first of all, I think the main job is for it to be a podcast listening app. It should be basically a complete superset of what you normally get on Overcast or Apple Podcasts or anything like that. You pull your show list from ListenNotes. How do you find shows? You've got to type in anything and you find them, right?Kevin [00:21:18]: Yeah. We have a search engine that is powered by ListenNotes. Yeah. But I mean, in the meantime, we have a huge database of like 99% of all podcasts out there ourselves. Yeah.swyx [00:21:27]: What I noticed, the default experience is you do not auto-download shows. And that's one very big difference for you guys versus other apps, where like, you know, if I'm subscribed to a thing, it auto-downloads and I already have the MP3 downloaded overnight. For me, I have to actively put it onto my queue, then it auto-downloads. And actually, I initially didn't like that. I think I maybe told you that I was like, oh, it's like a feature that I don't like. Like, because it means that I have to choose to listen to it in order to download and not to... It's like opt-in. There's a difference between opt-in and opt-out. So I opt-in to every episode that I listen to. And then, like, you know, you open it and depends on whether or not you have the AI stuff enabled. But the default experience is no AI stuff enabled. You can listen to it. You can see the snips, the number of snips and where people snip during the episode, which roughly correlates to interest level. And obviously, you can snip there. I think that's the default experience. I think snipping is really cool. Like, I use it to share a lot on Discord. I think we have tons and tons of just people sharing snips and stuff. Tweeting stuff is also like a nice, pleasant experience. But like the real features come when you actually turn on the AI stuff. And so the reason I got snipped, because I got fed up with Overcast not implementing any AI features at all. Instead, they spent two years rewriting their app to be a little bit faster. And I'm like, like, it's 2025. I should have a podcast that has transcripts that I can search. Very, very basic thing. Overcast will basically never have it.Kevin [00:22:49]: Yeah, I think that was a good, like, basic overview. Maybe I can add a bit to it with the AI features that we have. So one thing that we do every time a new podcast comes out, we transcribe the episode. We do speaker diarization. We identify the speaker names. Each guest, we extract a mini bio of the guest, try to find a picture of the guest online, add it. We break the podcast down into chapters, as in AI generated chapters. That one. That one's very handy. With a quick description per title and quick description per each chapter. We identify all books that get mentioned on a podcast. You can tell I don't use that one. It depends on the podcast. There are some podcasts where the guests often recommend like an amazing book. So later on, you can you can find that again.swyx [00:23:42]: So you literally search for the word book or I just read blah, blah, blah.Kevin [00:23:46]: No, I mean, it's all LLM based. Yeah. So basically, we have we have an LLM that goes through the entire transcript and identifies if a user mentions a book, then we use perplexity API together with various other LLM orchestration to go out there on the Internet, find everything that there is to know about the book, find the cover, find who or what the author is, get a quick description of it for the author. We then check on which other episodes the author appeared on.swyx [00:24:15]: Yeah, that is killer.Kevin [00:24:17]: Because that for me, if. If there's an interesting book, the first thing I do is I actually listen to a podcast episode with a with a writer because he usually gives a really great overview already on a podcast.swyx [00:24:28]: Sometimes the podcast is with the person as a guest. Sometimes his podcast is about the person without him there. Do you pick up both?Kevin [00:24:37]: So, yes, we pick up both in like our latest models. But actually what we show you in the app, the goal is to currently only show you the guest to separate that. In the future, we want to show the other things more.swyx [00:24:47]: For what it's worth, I don't mind. Yeah, I don't think like if I like if I like somebody, I'll just learn about them regardless of whether they're there or not.Kevin [00:24:55]: Yeah, I mean, yes and no. We we we have seen there are some personalities where this can break down. So, for example, the first version that we released with this feature, it picked up much more often a person, even if it was not a guest. Yeah. For example, the best examples for me is Sam Altman and Elon Musk. Like they're just mentioned on every second podcast and it has like they're not on there. And if you're interested in it, you can go to Elon Musk. And actually like learning from them. Yeah, I see. And yeah, we updated our our algorithms, improved that a lot. And now it's gotten much better to only pick it up if they're a guest. And yeah, so this this is maybe to come back to the features, two more important features like we have the ability to chat with an episode. Yes. Of course, you can do the old style of searching through a transcript with a keyword search. But I think for me, this is this is how you used to do search and extracting knowledge in the in the past. Old school. And the A.I. Web. Way is is basically an LLM. So you can ask the LLM, hey, when do they talk about topic X? If you're interested in only a certain part of the episode, you can ask them for four to give a quick overview of the episode. Key takeaways afterwards also to create a note for you. So this is really like very open, open ended. And yeah. And then finally, the snipping feature that we mentioned just to reiterate. Yeah. I mean, here the the feature is that whenever you hear an amazing idea, you can trip. It's up your headphones or click a button in the app and the A.I. summarizes the insight you just heard and saves that together with the original transcript and audio in your knowledge library. I also noticed that you you skip dynamic content. So dynamic content, we do not skip it automatically. Oh, sorry. You detect. But we detect it. Yeah. I mean, that's one of the thing that most people don't don't actually know that like the way that ads get inserted into podcasts or into most podcasts is actually that every time you listen. To a podcast, you actually get access to a different audio file and on the server, a different ad is inserted into the MP3 file automatically. Yeah. Based on IP. Exactly. And that's what that means is if we transcribe an episode and have a transcript with timestamps like words, word specific timestamps, if you suddenly get a different audio file, like the whole time says I messed up and that's like a huge issue. And for that, we actually had to build another algorithm that would dynamically on the floor. I re sync the audio that you're listening to the transcript that we have. Yeah. Which is a fascinating problem in and of itself.swyx [00:27:24]: You sync by matching up the sound waves? Or like, or do you sync by matching up words like you basically do partial transcription?Kevin [00:27:33]: We are not matching up words. It's happening on the basically a bytes level matching. Yeah. Okay.swyx [00:27:40]: It relies on this. It relies on the exact match at some point.Kevin [00:27:46]: So it's actually. We're actually not doing exact matches, but we're doing fuzzy matches to identify the moment. It's basically, we basically built Shazam for podcasts. Just as a little side project to solve this issue.swyx [00:28:02]: Actually, fun fact, apparently the Shazam algorithm is open. They published the paper, it's talked about it. I haven't really dived into the paper. I thought it was kind of interesting that basically no one else has built Shazam.Kevin [00:28:16]: Yeah, I mean, well, the one thing is the algorithm. If you now talk about Shazam, the other thing is also having the database behind it and having the user mindset that if they have this problem, they come to you, right?swyx [00:28:29]: Yeah, I'm very interested in the tech stack. There's a big data pipeline. Could you share what is the tech stack?Kevin [00:28:35]: What are the most interesting or challenging pieces of it? So the general tech stack is our entire backend is, or 90% of our backend is written in Python. Okay. Hosting everything on Google Cloud Platform. And our front end is written with, well, we're using the Flutter framework. So it's written in Dart and then compiled natively. So we have one code base that handles both Android and iOS. You think that was a good decision? It's something that a lot of people are exploring. So up until now, yes. Okay. Look, it has its pros and cons. Some of the, you know, for example, earlier, I mentioned we have a Apple Watch app. Yeah. I mean, there's no Flutter for that, right? So that you build native. And then of course you have to sort of like sync these things together. I mean, I'm not the front end engineer, so I'm not just relaying this information, but our front end engineers are very happy with it. It's enabled us to be quite fast and be on both platforms from the very beginning. And when I talk with people and they hear that we are using Flutter, usually they think like, ah, it's not performant. It's super junk, janky and everything. And then they use it. They use our app and they're always super surprised. Or if they've already used our app, I couldn't tell them. They're like, what? Yeah. Um, so there is actually a lot that you can do with it.swyx [00:29:51]: The danger, the concern, there's a few concerns, right? One, it's Google. So when were they, when are they going to abandon it? Two, you know, they're optimized for Android first. So iOS is like a second, second thought, or like you can feel that it is not a native iOS app. Uh, but you guys put a lot of care into it. And then maybe three, from my point of view, JavaScript, as a JavaScript guy, React Native was supposed to be there. And I think that it hasn't really fulfilled that dream. Um, maybe Expo is trying to do that, but, um, again, it is not, does not feel as productive as Flutter. And I've, I spent a week on Flutter and dot, and I'm an investor in Flutter flow, which is the local, uh, Flutter, Flutter startup. That's doing very, very well. I think a lot of people are still Flutter skeptics. Yeah. Wait. So are you moving away from Flutter?Kevin [00:30:41]: I don't know. We don't have plans to do that. Yeah.swyx [00:30:43]: You're just saying about that. What? Yeah. Watch out. Okay. Let's go back to the stack.Kevin [00:30:47]: You know, that was just to give you a bit of an overview. I think the more interesting things are, of course, on the AI side. So we, like, as I mentioned earlier, when we started out, it was before chat GPT for the chat GPT moment before there was the GPT 3.5 turbo, uh, API. So in the beginning, we actually were running everything ourselves, open source models, try to fine tune them. They worked. There was us, but let's, let's be honest. They weren't. What was the sort of? Before Whisper, the transcription. Yeah, we were using wave to work like, um, there was a Google one, right? No, it was a Facebook, Facebook one. That was actually one of the papers. Like when that came out for me, that was one of the reasons why I said we, we should try something to start a startup in the audio space. For me, it was a bit like before that I had been following the NLP space, uh, quite closely. And as, as I mentioned earlier, we, we did some stuff at the startup as well, that I was working up. But before, and wave to work was the first paper that I had at least seen where the whole transformer architecture moved over to audio and bit more general way of saying it is like, it was the first time that I saw the transformer architecture being applied to continuous data instead of discrete tokens. Okay. And it worked amazingly. Ah, and like the transformer architecture plus self-supervised learning, like these two things moved over. And then for me, it was like, Hey, this is now going to take off similarly. It's the text space has taken off. And with these two things in place, even if some features that we want to build are not possible yet, they will be possible in the near term, uh, with this, uh, trajectory. So that was a little side, side note. No, it's in the meantime. Yeah. We're using whisper. We're still hosting some of the models ourselves. So for example, the whole transcription speaker diarization pipeline, uh,swyx [00:32:38]: You need it to be as cheap as possible.Kevin [00:32:40]: Yeah, exactly. I mean, we're doing this at scale where we have a lot of audio.swyx [00:32:44]: We're what numbers can you disclose? Like what, what are just to give people an idea because it's a lot. So we have more than a million podcasts that we've already processed when you say a million. So processing is basically, you have some kind of list of podcasts that you will auto process and others where a paying pay member can choose to press the button and transcribe it. Right. Is that the rough idea? Yeah, exactly.Kevin [00:33:08]: Yeah. And if, when you press that button or we also transcribe it. Yeah. So first we do the, we do the transcription. We do the. The, the speaker diarization. So basically you identify speech blocks that belong to the same speaker. This is then all orchestrated within, within LLM to identify which speech speech block belongs to which speaker together with, you know, we identify, as I mentioned earlier, we identify the guest name and the bio. So all of that comes together with an LLM to actually then assign assigned speaker names to, to each block. Yeah. And then most of the rest of the, the pipeline we've now used, we've now migrated to LLM. So we use mainly open AI, Google models, so the Gemini models and the open AI models, and we use some perplexity basically for those things where we need, where we need web search. Yeah. That's something I'm still hoping, especially open AI will also provide us an API. Oh, why? Well, basically for us as a consumer, the more providers there are.swyx [00:34:07]: The more downtime.Kevin [00:34:08]: The more competition and it will lead to better, better results. And, um, lower costs over time. I don't, I don't see perplexity as expensive. If you use the web search, the price is like $5 per a thousand queries. Okay. Which is affordable. But, uh, if you compare that to just a normal LLM call, um, it's, it's, uh, much more expensive. Have you tried Exa? We've, uh, looked into it, but we haven't really tried it. Um, I mean, we, we started with perplexity and, uh, it works, it works well. And if I remember. Correctly, Exa is also a bit more expensive.swyx [00:34:45]: I don't know. I don't know. They seem to focus on the search thing as a search API, whereas perplexity, maybe more consumer-y business that is higher, higher margin. Like I'll put it like perplexity is trying to be a product, Exa is trying to be infrastructure. Yeah. So that, that'll be my distinction there. And then the other thing I will mention is Google has a search grounding feature. Yeah. Which you, which you might want. Yeah.Kevin [00:35:07]: Yeah. We've, uh, we've also tried that out. Um, not as good. So we, we didn't, we didn't go into. Too much detail in like really comparing it, like quality wise, because we actually already had the perplexity one and it, and it's, and it's working. Yeah. Um, I think also there, the price is actually higher than perplexity. Yeah. Really? Yeah.swyx [00:35:26]: Google should cut their prices.Kevin [00:35:29]: Maybe it was the same price. I don't want to say something incorrect, but it wasn't cheaper. It wasn't like compelling. And then, then there was no reason to switch. So, I mean, maybe like in general, like for us, given that we do work with a lot of content, price is actually something that we do look at. Like for us, it's not just about taking the best model for every task, but it's really getting the best, like identifying what kind of intelligence level you need and then getting the best price for that to be able to really scale this and, and provide us, um, yeah, let our users use these features with as many podcasts as possible. Yeah.swyx [00:36:03]: I wanted to double, double click on diarization. Yeah. Uh, it's something that I don't think people do very well. So you know, I'm, I'm a, I'm a B user. I don't have it right now. And, and they were supposed to speak, but they dropped out last minute. Um, but, uh, we've had them on the podcast before and it's not great yet. Do you use just PI Anode, the default stuff, or do you find any tricks for diarization?Kevin [00:36:27]: So we do use the, the open source packages, but we have tweaked it a bit here and there. For example, if you mentioned the BAI guys, I actually listened to the podcast episode was super nice. Thank you. And when you started talking about speaker diarization, and I just have to think about, uh, I don't know.Kevin [00:36:49]: Is it possible? I don't know. I don't know. F**k this. Yeah, no, I don't know.Kevin [00:36:55]: Yeah. We are the best. This is a.swyx [00:37:07]: I don't know. This is the best. I don't know. This is the best. Yeah. Yeah. Yeah. You're doing good.Kevin [00:37:12]: So, so yeah. This is great. This is good. Yeah. No, so that of course helps us. Another thing that helps us is that we know certain structural aspects of the podcast. For example, how often does someone speak? Like if someone, like let's say there's a one hour episode and someone speaks for 30 seconds, that person is most probably not the guest and not the host. It's probably some ad, like some speaker from an ad. So we have like certain of these heuristics that we can use and we leverage to improve things. And in the past, we've also changed the clustering algorithm. So basically how a lot of the speaker diarization works is you basically create an embedding for the speech that's happening. And then you try to somehow cluster these embeddings and then find out this is all one speaker. This is all another speaker. And there we've also tweaked a couple of things where we again used heuristics that we could apply from knowing how podcasts function. And that's also actually why I was feeling so much with the BAI guys, because like all of these heuristics, like for them, it's probably almost impossible to use any heuristics because it can just be any situation, anything.Kevin [00:38:34]: So that's one thing that we do. Yeah, another thing is that we actually combine it with LLM. So the transcript, LLMs and the speaker diarization, like bringing all of these together to recalibrate some of the switching points. Like when does the speaker stop? When does the next one start?swyx [00:38:51]: The LLMs can add errors as well. You know, I wouldn't feel safe using them to be so precise.Kevin [00:38:58]: I mean, at the end of the day, like also just to not give a wrong impression, like the speaker diarization is also not perfect that we're doing, right? I basically don't really notice it.swyx [00:39:08]: Like I use it for search.Kevin [00:39:09]: Yeah, it's not perfect yet, but it's gotten quite good. Like, especially if you compare, if you look at some of the, like if you take a latest episode and you compare it to an episode that came out a year ago, we've improved it quite a bit.swyx [00:39:23]: Well, it's beautifully presented. Oh, I love that I can click on the transcript and it goes to the timestamp. So simple, but you know, it should exist. Yeah, I agree. I agree. So this, I'm loading a two hour episode of Detect Me Right Home, where there's a lot of different guests calling in and you've identified the guest name. And yeah, so these are all LLM based. Yeah, it's really nice.Kevin [00:39:49]: Yeah, like the speaker names.swyx [00:39:50]: I would say that, you know, obviously I'm a power user of all these tools. You have done a better job than Descript. Okay, wow. Descript is so much funding. They had their open AI invested in them and they still suck. So I don't know, like, you know, keep going. You're doing great. Yeah, thanks. Thanks.Kevin [00:40:12]: I mean, I would, I would say that, especially for anyone listening who's interested in building a consumer app with AI, I think the, like, especially if your background is in AI and you love working with AI and doing all of that, I think the most important thing is just to keep reminding yourself of what's actually the job to be done here. Like, what does actually the consumer want? Like, for example, you now were just delighted by the ability to click on this word and it jumps there. Yeah. Like, this is not, this is not rocket science. This is, like, you don't have to be, like, I don't know, Android Kapathi to come up with that and build that, right? And I think that's, that's something that's super important to keep in mind.swyx [00:40:52]: Yeah, yeah. Amazing. I mean, there's so many features, right? It's, it's so packed. There's quotes that you pick up. There's summarization. Oh, by the way, I'm going to use this as my official feature request. I want to customize what, how it's summarized. I want to, I want to have a custom prompt. Yeah. Because your summarization is good, but, you know, I have different preferences, right? Like, you know.Kevin [00:41:14]: So one thing that you can already do today, I completely get your feature request. And I think it just.swyx [00:41:18]: I'm sure people have asked it.Kevin [00:41:19]: I mean, maybe just in general as a, as a, how I see the future, you know, like in the future, I think all, everything will be personalized. Yeah, yeah. Like, not, this is not specific to us. Yeah. And today we're still in a, in a phase where the cost of LLMs, at least if you're working with, like, such long context windows. As us, I mean, there's a lot of tokens in, if you take an entire podcast, so you still have to take that cost into consideration. So if for every single user, we regenerate it entirely, it gets expensive. But in the future, this, you know, cost will continue to go down and then it will just be personalized. So that being said, you can already today, if you go to the player screen. Okay. And open up the chat. Yeah. You can go to the, to the chat. Yes. And just ask for a summary in your style.swyx [00:42:13]: Yeah. Okay. I mean, I, I listen to consume, you know? Yeah. Yeah. I, I've never really used this feature. I don't know. I think that's, that's me being a slow adopter. No, no. I mean, that's. It has, when does the conversation start? Okay.Kevin [00:42:26]: I mean, you can just type anything. I think what you're, what you're describing, I mean, maybe that is also an interesting topic to talk about. Yes. Where, like, basically I told you, like, look, we have this chat. You can just ask for it. Yeah. And this is, this is how ChatGPT works today. But if you're building a consumer app, you have to move beyond the chat box. People do not want to always type out what they want. So your feature request was, even though theoretically it's already possible, what you are actually asking for is, hey, I just want to open up the app and it should just be there in a nicely formatted way. Beautiful way such that I can read it or consume it without any issues. Interesting. And I think that's in general where a lot of the, the. Opportunities lie currently in the market. If you want to build a consumer app, taking the capability and the intelligence, but finding out what the actual user interface is the best way how a user can engage with this intelligence in a natural way.swyx [00:43:24]: Is this something I've been thinking about as kind of like AI that's not in your face? Because right now, you know, we like to say like, oh, use Notion has Notion AI. And we have the little thing there. And there's, or like some other. Any other platform has like the sparkle magic wand emoji, like that's our AI feature. Use this. And it's like really in your face. A lot of people don't like it. You know, it should just kind of become invisible, kind of like an invisible AI.Kevin [00:43:49]: 100%. I mean, the, the way I see it as AI is, is the electricity of, of the future. And like no one, like, like we don't talk about, I don't know, this, this microphone uses electricity, this phone, you don't think about it that way. It's just in there, right? It's not an electricity enabled product. No, it's just a product. Yeah. It will be the same with AI. I mean, now. It's still a, something that you use to market your product. I mean, we do, we do the same, right? Because it's still something that people realize, ah, they're doing something new, but at some point, no, it'll just be a podcast app and it will be normal that it has all of this AI in there.swyx [00:44:24]: I noticed you do something interesting in your chat where you source the timestamps. Yeah. Is that part of this prompt? Is there a separate pipeline that adds source sources?Kevin [00:44:33]: This is, uh, actually part of the prompt. Um, so this is all prompt engine. Engineering, um, uh, you should be able to click on it. Yeah, I clicked on it. Um, this is all prompt engineering with how to provide the, the context, you know, we, because we provide all of the transcript, how to provide the context and then, yeah, I get them all to respond in a correct way with a certain format and then rendering that on the front end. This is one of the examples where I would say it's so easy to create like a quick demo of this. I mean, you can just go to chat to be deep, paste this thing in and say like, yeah, do this. Okay. Like 15 minutes and you're done. Yeah. But getting this to like then production level that it actually works 99% of the time. Okay. This is then where, where the difference lies. Yeah. So, um, for this specific feature, like we actually also have like countless regexes that they're just there to correct certain things that the LLM is doing because it doesn't always adhere to the format correctly. And then it looks super ugly on the front end. So yeah, we have certain regexes that correct that. And maybe you'd ask like, why don't you use an LLM for that? Because that's sort of the, again, the AI native way, like who uses regexes anymore. But with the chat for user experience, it's very important that you have the streaming because otherwise you need to wait so long until your message has arrived. So we're streaming live the, like, just like ChatGPT, right? You get the answer and it's streaming the text. So if you're streaming the text and something is like incorrect. It's currently not easy to just like pipe, like stream this into another stream, stream this into another stream and get the stream back, which corrects it, that would be amazing. I don't know, maybe you can answer that. Do you know of any?swyx [00:46:19]: There's no API that does this. Yeah. Like you cannot stream in. If you own the models, you can, uh, you know, whatever token sequence has, has been emitted, start loading that into the next one. If you fully own the models, uh, I don't, it's probably not worth it. That's what you do. It's better. Yeah. I think. Yeah. Most engineers who are new to AI research and benchmarking actually don't know how much regexing there is that goes on in normal benchmarks. It's just like this ugly list of like a hundred different, you know, matches for some criteria that you're looking for. No, it's very cool. I think it's, it's, it's an example of like real world engineering. Yeah. Do you have a tooling that you're proud of that you've developed for yourself?Kevin [00:47:02]: Is it just a test script or is it, you know? I think it's a bit more, I guess the term that has come up is, uh, vibe coding, uh, vibe coding, some, no, sorry, that's actually something else in this case, but, uh, no, no, yes, um, vibe evals was a term that in one of the talks actually on, on, um, I think it might've been the first, the first or the first day at the conference, someone brought that up. Yeah. Uh, because yeah, a lot of the talks were about evals, right. Which is so important. And yeah, I think for us, it's a bit more vibe. Evals, you know, that's also part of, you know, being a startup, we can take risks, like we can take the cost of maybe sometimes it failing a little bit or being a little bit off and our users know that and they appreciate that in return, like we're moving fast and iterating and building, building amazing things, but you know, a Spotify or something like that, half of our features will probably be in a six month review through legal or I don't know what, uh, before they could sell them out.swyx [00:48:04]: Let's just say Spotify is not very good at podcasting. Um, I have a documented, uh, dislike for, for their podcast features, just overall, really, really well integrated any other like sort of LLM focused engineering challenges or problems that you, that you want to highlight.Kevin [00:48:20]: I think it's not unique to us, but it goes again in the direction of handling the uncertainty of LLMs. So for example, with last year, at the end of the year, we did sort of a snipped wrapped. And one of the things we thought it would be fun to, just to do something with, uh, with an LLM and something with the snips that, that a user has. And, uh, three, let's say unique LLM features were that we assigned a personality to you based on the, the snips that, that you have. It was, I mean, it was just all, I guess, a bit of a fun, playful way. I'm going to look up mine. I forgot mine already.swyx [00:48:57]: Um, yeah, I don't know whether it's actually still in the, in the, we all took screenshots of it.Kevin [00:49:01]: Ah, we posted it in the, in the discord. And the, the second one, it was, uh, we had a learning scorecard where we identified the topics that you snipped on the most, and you got like a little score for that. And the third one was a, a quote that stood out. And the quote is actually a very good example of where we would run that for user. And most of the time it was an interesting quote, but every now and then it was like a super boring quotes that you think like, like how, like, why did you select that? Like, come on for there. The solution was actually just to say, Hey, give me five. So it extracted five quotes as a candidate, and then we piped it into a different model as a judge, LLM as a judge, and there we use a, um, a much better model because with the, the initial model, again, as, as I mentioned also earlier, we do have to look at the, like the, the costs because it's like, we have so much text that goes into it. So we, there we use a bit more cheaper model, but then the judge can be like a really good model to then just choose one out of five. This is a practical example.swyx [00:50:03]: I can't find it. Bad search in discord. Yeah. Um, so, so you do recommend having a much smarter model as a judge, uh, and that works for you. Yeah. Yeah. Interesting. I think this year I'm very interested in LM as a judge being more developed as a concept, I think for things like, you know, snips, raps, like it's, it's fine. Like, you know, it's, it's, it's, it's entertaining. There's no right answer.Kevin [00:50:29]: I mean, we also have it. Um, we also use the same concept for our books feature where we identify the, the mention. Books. Yeah. Because there it's the same thing, like 90% of the time it, it works perfectly out of the box one shot and every now and then it just, uh, starts identifying books that were not really mentioned or that are not books or made, yeah, starting to make up books. And, uh, they are basically, we have the same thing of like another LLM challenging it. Um, yeah. And actually with the speakers, we do the same now that I think about it. Yeah. Um, so I'm, I think it's a, it's a great technique. Interesting.swyx [00:51:05]: You run a lot of calls.Kevin [00:51:07]: Yeah.swyx [00:51:08]: Okay. You know, you mentioned costs. You move from self hosting a lot of models to the, to the, you know, big lab models, open AI, uh, and Google, uh, non-topic.Kevin [00:51:18]: Um, no, we love Claude. Like in my opinion, Claude is the, the best one when it comes to the way it formulates things. The personality. Yeah. The personality. Okay. I actually really love it. But yeah, the cost is. It's still high.swyx [00:51:36]: So you cannot, you tried Haiku, but you're, you're like, you have to have Sonnet.Kevin [00:51:40]: Uh, like basically we like with Haiku, we haven't experimented too much. We obviously work a lot with 3.5 Sonnet. Uh, also, you know, coding. Yeah. For coding, like in cursor, just in general, also brainstorming. We use it a lot. Um, I think it's a great brainstorm partner, but yeah, with, uh, with, with a lot of things that we've done done, we opted for different models.swyx [00:52:00]: What I'm trying to drive at is how much cheaper can you get if you go from cloud to cloud? Closed models to open models. And maybe it's like 0% cheaper, maybe it's 5% cheaper, or maybe it's like 50% cheaper. Do you have a sense?Kevin [00:52:13]: It's very difficult to, to judge that. I don't really have a sense, but I can, I can give you a couple of thoughts that have gone through our minds over the time, because obviously we do realize like, given that we, we have a couple of tasks where there are just so many tokens going in, um, at some point it will make sense to, to offload some of that. Uh, to an open source model, but going back to like, we're, we're a startup, right? Like we're not an AI lab or whatever, like for us, actually the most important thing is to iterate fast because we need to learn from our users, improve that. And yeah, just this velocity of this, these iterations. And for that, the closed models hosted by open AI, Google is, uh, and swapping, they're just unbeatable because you just, it's just an API call. Yeah. Um, so you don't need to worry about. Yeah. So much complexity behind that. So this is, I would say the biggest reason why we're not doing more in this space, but there are other thoughts, uh, also for the future. Like I see two different, like we basically have two different usage patterns of LLMs where one is this, this pre-processing of a podcast episode, like this initial processing, like the transcription, speaker diarization, chapterization. We do that once. And this, this usage pattern it's, it's quite predictable. Because we know how many podcasts get released when, um, so we can sort of have a certain capacity and we can, we, we're running that 24 seven, it's one big queue running 24 seven.swyx [00:53:44]: What's the queue job runner? Uh, is it a Django, just like the Python one?Kevin [00:53:49]: No, that, that's just our own, like our database and the backend talking to the database, picking up jobs, finding it back. I'm just curious in orchestration and queues. I mean, we, we of course have like, uh, a lot of other orchestration where we're, we're, where we use, uh, the Google pub sub, uh, thing, but okay. So we have this, this, this usage pattern of like very predictable, uh, usage, and we can max out the, the usage. And then there's this other pattern where it's, for example, the snippet where it's like a user, it's a user action that triggers an LLM call and it has to be real time. And there can be moments where it's by usage and there can be moments when there's very little usage for that. There. So that's, that's basically where these LLM API calls are just perfect because you don't need to worry about scaling this up, scaling this down, um, handling, handling these issues. Serverless versus serverful.swyx [00:54:44]: Yeah, exactly. Okay.Kevin [00:54:45]: Like I see them a bit, like I see open AI and all of these other providers, I see them a bit as the, like as the Amazon, sorry, AWS of, of AI. So it's a bit similar how like back before AWS, you would have to have your, your servers and buy new servers or get rid of servers. And then with AWS, it just became so much easier to just ramp stuff up and down. Yeah. And this is like the taking it even, even, uh, to the next level for AI. Yeah.swyx [00:55:18]: I am a big believer in this. Basically it's, you know, intelligence on demand. Yeah. We're probably not using it enough in our daily lives to do things. I should, we should be able to spin up a hundred things at once and go through things and then, you know, stop. And I feel like we're still trying to figure out how to use LLMs in our lives effectively. Yeah. Yeah.Kevin [00:55:38]: 100%. I think that goes back to the whole, like that, that's for me where the big opportunity is for, if you want to do a startup, um, it's not about, but you can let the big labs handleswyx [00:55:48]: the challenge of more intelligence, but, um, it's the... Existing intelligence. How do you integrate? How do you actually incorporate it into your life? AI engineering. Okay, cool. Cool. Cool. Cool. Um, the one, one other thing I wanted to touch on was multimodality in frontier models. Dwarcash had a interesting application of Gemini recently where he just fed raw audio in and got diarized transcription out or timestamps out. And I think that will come. So basically what we're saying here is another wave of transformers eating things because right now models are pretty much single modality things. You know, you have whisper, you have a pipeline and everything. Yeah. You can't just say, Oh, no, no, no, we only fit like the raw, the raw files. Do you think that will be realistic for you? I 100% agree. Okay.Kevin [00:56:38]: Basically everything that we talked about earlier with like the speaker diarization and heuristics and everything, I completely agree. Like in the, in the future that would just be put everything into a big multimodal LLM. Okay. And it will output, uh, everything that you want. Yeah. So I've also experimented with that. Like just... With, with Gemini 2? With Gemini 2.0 Flash. Yeah. Just for fun. Yeah. Yeah. Because the big difference right now is still like the cost difference of doing speaker diarization this way or doing transcription this way is a huge difference to the pipeline that we've built up. Huh. Okay.swyx [00:57:15]: I need to figure out what, what that cost is because in my mind 2.0 Flash is so cheap. Yeah. But maybe not cheap enough for you.Kevin [00:57:23]: Uh, no, I mean, if you compare it to, yeah, whisper and speaker diarization and especially self-hosting it and... Yeah. Yeah. Yeah.swyx [00:57:30]: Yeah.Kevin [00:57:30]: Okay. But we will get there, right? Like this is just a question of time.swyx [00:57:33]: And, um, at some point, as soon as that happens, we'll be the first ones to switch. Yeah. Awesome. Anything else that you're like sort of eyeing on the horizon as like, we are thinking about this feature, we're thinking about incorporating this new functionality of AI into our, into our app? Yeah.Kevin [00:57:50]: I mean, we, there's so many areas that we're thinking about, like our challenge is a bit more... Choosing. Yeah. Choosing. Yeah. So, I mean, I think for me, like looking into like the next couple of years, like the big areas that interest us a lot, basically four areas, like one is content. Um, right now it's, it's podcasts. I mean, you did mention, I think you mentioned like you can also upload audio books and YouTube videos. YouTube. I actually use the YouTube one a fair amount. But in the future, we, we want to also have audio books natively in the app. And, uh, we want to enable AI generated content. Like just think of, take deep research and notebook analysis. Like put these together. That should be, that should be in our app. The second area is discovery. I think in general. Yeah.swyx [00:58:38]: I noticed that you don't have, so you

2025 re-run bonus notes:   This episode is the third in a trilogy of music blocks (parts 1 and 2 were our January and February reruns). Long time listeners may already know what this trilogy is all about, but for those who don't and have been following the reruns, the introduction to this episode finally explains what the trilogy is all about.   So, the fun [for me] question: of the three music blocks in the trilogy, which did you like best (and why), which did you like least (and why), and do you or do you not think I made the right decision bumping "music block A" for "music block B" in C1E41? Let me know at nerd.noise.radio@gmail.com, or by any social media outlet on which we exist. I will genuinely be curious to know what you think. Even to this day in 2025, I *STILL* don't know what to think, personally!   DISCLAIMER: the production value was worse in 2022 when the intro and outro were produced, and substantially worse in 2018 when the music block was produced. So if this is your first time hearing Nerd Noise Radio, please keep in mind that our production values have much improved in the time since.   ----------------------------- Original (2022) Show Notes -----------------------------   Today's broadcast is  C1E69 for Mishmash Monday, November 7th, 2022. Today's Episode will be "Mishmash Monday - vol. 12, the long-lost "original C1E41", a 2018 Lost Level originally intended for 2019.    Track# / Track / Game / System / Composer(s) / Timestamp    01) Earcatcher - 00:00:00  02) Intro - 00:00:12  03) Flight - Panzer Dragoon - Saturn – c: Yoshitaka Azuma a: Tomoyuki Hayashi - 00:06:33  04) New Beginning pt. 1 - LA Noire - multi - Andrew Hale and Simon Hale - 00:10:15  05) This is Your Story - Final Fantasy X - PS2 – Masashi Hamauzu,  Junya Nakano, and/or Nobuo Uematsu - 00:11:18  06) Track 06 - Colony Wars - PS1 – Tim Wright aka CoLD SToRAGE - 00:13:30  07) The Flatfields - Quizzes and Dragons - Arcade – Isao Abe - 00:14:03  08) Midnight Chaser / Breakthrough - Wolf Fang - Kuhga 2001 - Arcade - Hiroaki Yoshida / Akira Taemoto - 00:15:38  09) Let's Go on an Adventure - Landstalker - Genesis  – Motoaki Takenouchi - 00:18:57  10) Track 7 - Mutant Rampage: Bodyslam - CD-I – Tony Trippi - 00:20:18  11) BGM #57 - Quiz Daisousasen Pt 2 - Neo Geo - Yoshihiko Kitamura, Yasuo Yamate, Yoko Osaka, Hiroaki Shimizu, Toshikazu Tanaka - 00:22:10  12) BGM 4 (Stage 3-2) - Shadow Dancer - Genesis - Keisuke Tsukahara - 00:25:03  13) Rendezvous Theme - Golgo 13 - NES – Michiharu Hasuya - 00:27:05  14) Areas 41-50 - Slap Fight - Arcade - Masahiro Yuge - 00:28:12  15) Unknown Track 22 - Team Innocent - PCFX – Kenji Kawai - 00:29:16  16) Fonction - N++ - multi – Broca - 00:31:52  17) Jus' Dance (Sole Channel Mix) - GT Sport - PS4 - Mr.V - 00:38:37  18) Just Hiss - WipEout HD - PS3 – Spector - 00:46:21  19) Rhythm Shift - Ridge Racer - Arcade / PS1 – Etsuo Ishii, Yuri Misumi, Keiichi Okabe, Shinji Hosoe, Ayoko Sasoh, Nobuyoshi Sano - 00:51:02  20) Fury - Rocket League - multi – Rogue - 00:53:00  21) Alien - Galactic Pinball - Virtual Boy – Kenji Yamamoto, Masaru Tajima and/or Minako Hamano - 00:56:58  22) Dungeon / Waterfall - Final Fantasy: Mystic Quest - SNES – Yasuhiro Kawakami and/or Ruiji Sasai - 00:59:50  23) Mysterious Ghost Ship - TMNT: Hyperstone Heist - Genesis – Masahiro Ikariko, Yuichi Takamine, Kaori Kinouchi, and/or Hideto Inoue - 01:02:06  24) Mystic Woods (Forest 2) - Grounseed - PC98 (OPN vers) - Daisuke Takahashi - 01:04:32  25) Meridian (Night) - Horizon Zero Dawn - PS4 - Joris de Man, The Flight, Niels van der Leest, and/or Jonathan Williams - 01:08:05  26) Title Theme - AD&D Slayer - 3DO – Billy Wolfe - 01:11:48  27) Cobbleston, Nestled in the Hills - Octopath Traveller - SWITCH! - Yasunori Nishiki - 01:12:58  28) Sealed Temple - LoZ: Skyward Sword - Wii – Hajime Wakai, Shiho Fujii, Mahito Yakota, Takeshi Hama, Koji Kondo - 01:15:58  29) Globe at Night - Wii Forecast Channel - Wii – Kazumi Totaka - 01:19:06  30) Island of Memory - Doshin the Giant - GameCube - Tatsuhiko Asano - 01:21:38  31) The Cliff that Time Forgot - Earthbound - SNES – Hirokazu Tanaka - 01:25:40  32) Oblivious Past - Alien Soldier - Mega Drive - Kazuo Hanzawa - 01:26:56  33) Outro - 01:32:11  34) Exit Earcatcher - 01:43:21    Music Block Runtime: 01:25:40 / Total Episode Runtime: 01:43:57    Our Intro and Outro Music is Funky Radio, from Jet Grind Radio on the Sega Dreamcast, composed by BB Rights.    Intro / Outro / Final Production produced using Ardour 6 / Audacity 3 in Ubuntu Studio [Linux] 22.04 09/08/2022. Music Block produced in GarageBand in macOS 10/19/2018.       IMPORTANT NOTE: The tools and techniques I used back in 2018 in producing the music block were NOT up to my current standards – including featuring less sophisticated fades, more imprecise volume level balancing, less developed track run-order sorting, and even my having used MP3s rather than WAVs in the source production, resulting in a lower-fidelity final product, and further limiting my ability to touch it up after the fact. As such, the production value of this episode will NOT be to par with our current "fresh episodes". But production values aside, the quality of the CONTENT itself, otherwise, I feel, is excellent, and well worth digging up to share with you.....I hope that you'll agree! :-)     You can also find all of our audio episodes on Archive.org as well as the occasional additional release only available there, such as remixes of previous releases and other content.    Our YouTube Channel, for the time being is in dormancy, but will be returning with content, hopefully, in 2022. Meanwhile, all the old stuff is still there, and can be found here:     https://www.youtube.com/user/NerdNoiseRadio    Our episodes (and occasionally, other content, including expanded show notes) can be found on our blog here:    nerdnoiseradio.blogspot.com.    Nerd Noise Radio is also available on The Retro Junkies Network at www.theretrojunkies.com, and is a member of the VGM Podcast Fans community at     https://www.facebook.com/groups/VGMPodcastFans/    Or, if you wish to connect with us directly, we have two groups of our own:     Nerd Noise Radio - Easy Mode: https://www.facebook.com/groups/276843385859797/ for sharing tracks, video game news, or just general videogame fandom.    Nerd Noise Radio - Expert Mode: https://www.facebook.com/groups/381475162016534/ for going deep into video game sound hardware, composer info, and/or music theory.    You can also follow us on Twitter at @NerdNoiseRadio. And we are also now on Spotify, TuneIn, Pandora, iHeartRadio, Stitcher, and Vurbl.    Thanks for listening! Join us again in December (all dates TBD) for C2R2: Channel 2's Season 2 retrospective, as well as not one, but TWO Channel 1s: The Best of 2022, Hugues' picks and St. John's picks - Tasty VGM and Talk on "Nerd Noise Game Club", as well as Delicious VGM on "Noise from the Hearts of Nerds"! And wherever you are - Fly the N!    Cheers! 

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

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show.   Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are.   You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow   A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   
The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers     Dad's Army   Dad's Army is a British television sitcom about the United Kingdom's Home Guard during the Second World War. It was written by Jimmy Perry and David Croft, and originally broadcast on BBC1 from 31 July 1968 to 13 November 1977. It ran for nine series and 80 episodes in total; a feature film released in 1971, a stage show and a radio version based on the television scripts were also produced. The series regularly gained audiences of 18 million viewers and is still shown internationally. The Home Guard consisted of local volunteers otherwise ineligible for military service, either because of age (hence the title Dad's Army), medical reasons or by being in professions exempt from conscription. Most of the platoon members in Dad's Army are over military age and the series stars several older British actors, including Arnold Ridley, John Laurie, Arthur Lowe and John Le Mesurier. Younger members of the cast included Ian Lavender, Clive Dunn (who, despite being one of the younger cast members, played the oldest guardsman, Lance Corporal Jones) and James Beck (who died suddenly during production of the sixth series in 1973). Other regular cast members included Frank Williams as the vicar, Edward Sinclair as the verger, and Bill Pertwee as the chief ARP warden. The series has influenced British popular culture, with its catchphrases and characters being widely known. The Radio Times magazine listed Captain Mainwaring's "You stupid boy!" among the 25 greatest put-downs on TV. A 2001 Channel 4 poll ranked Captain Mainwaring 21st on its list of the 100 Greatest TV Characters. In 2004, Dad's Army came fourth in a BBC poll to find Britain's Best Sitcom. It was placed 13th in a list of the 100 Greatest British Television Programmes, drawn up by the British Film Institute in 2000, and voted for by industry professionals. A second feature film of Dad's Army with a different cast was released in 2016. In 2019, UKTV recreated three missing episodes for broadcast in August that year on its Gold channel under the title Dad's Army: The Lost Episodes. It starred Kevin McNally and Robert Bathurst as Captain Mainwaring and Sergeant Wilson. Origins Co-writers David Croft and Jimmy Perry during a Dad's Army event at Bressingham Steam Museum, May 2011 Originally intended to be called The Fighting Tigers, Dad's Army was based partly on co-writer and creator Jimmy Perry's experiences in the Local Defence Volunteers (LDV, later known as the Home Guard) and highlighted a somewhat forgotten aspect of defence during the Second World War. Perry was only 16 when he joined the 10th Hertfordshire Battalion. His mother did not like him being out at night, and feared he might catch a cold; he partly resembled the character of Private Pike. An elderly lance corporal in the 10th Hertfordshire often referred to fighting under Kitchener against the "Fuzzy Wuzzies" (Hadendoa), and was the model for Lance Corporal Jones. Other influences included the work of comedians such as Will Hay, whose film Oh, Mr Porter! featured a pompous ass, an old man and a young man; together, this gave Perry the ideas for Mainwaring, Godfrey and Pike. Film historian Jeffrey Richards has cited Lancastrian comedian Robb Wilton as a key influence; Wilton portrayed a work-shy husband who joined the Home Guard in numerous comic sketches during World War II. Perry wrote the first script and sent it to David Croft while working as a minor actor in the Croft-produced sitcom Hugh and I, originally intending the role of the spiv, later called Walker, to be his own. Croft was impressed and sent the script to Michael Mills, the BBC's head of comedy, and the series was commissioned. In his book Dad's Army: The Story of a Classic Television Show, Graham McCann explains that the show owes much to Michael Mills. It was he who renamed the show Dad's Army. He did not like Brightsea-on-Sea, so the location was changed to Walmington-on-Sea. He was happy with the names for the characters Mainwaring, Godfrey and Pike, but not with other names, and he made suggestions: Private Jim Duck became James Frazer, Joe Fish became Joe Walker and Jim Jones became Jack Jones. He also suggested adding a Scot. Jimmy Perry had produced the original idea, but needed a more experienced partner to see it through, so Mills suggested David Croft and this launched the beginning of their professional association. When an episode was screened to members of the public to gauge audience reaction prior to broadcast of the first series, the majority of the audience thought it was very poor. The production team put the report containing the negative comments at the bottom of David Croft's in-tray. He only saw it several months later,[16] after the series had been broadcast and received a positive response. Situation The series is set in the fictional seaside town of Walmington-on-Sea, located on the south coast of England, not far from Eastbourne. The exterior scenes were mostly filmed in and around the Stanford Training Area (STANTA), near Thetford, Norfolk.[19] Walmington, and its Home Guard platoon, would be on the frontline in the event of a German invasion across the English Channel. The first series has a loose narrative thread, with Captain Mainwaring's platoon being formed and equipped, initially with wooden guns and LDV armbands, later on with full army uniforms; the platoon is part of the Queen's Own Royal West Kent Regiment. The first episode, "The Man and the Hour", begins with a scene set in the then-present day of 1968, in which Mainwaring addresses his old platoon as part of the contemporary '"I'm Backing Britain" campaign. The prologue opening was a condition imposed after initial concerns from Paul Fox, the BBC1 controller, that it belittled the efforts of the Home Guard. After Mainwaring relates how he had backed Britain in 1940, the episode proper begins; Dad's Army is thus told in flashback, although the final episode does not return to 1968. Later episodes are largely self-contained, albeit referring to previous events and with additional character development. As the comedy in many ways relies on the platoon's lack of participation in the Second World War, opposition to their activities must come from another quarter, and this is generally provided by Chief Air Raid Precautions (ARP) Warden Hodges, and sometimes by the verger of the local church (St Aldhelm's) or by Captain Square and the neighbouring Eastgate Home Guard platoon. The group, however, does have some encounters related to the enemy, such as downed German planes, a Luftwaffe pilot who parachutes into the town's clock tower, a U-boat crew and discarded parachutes that may have been German; a Viennese ornithologist appears in "Man Hunt" and an IRA suspect appears in "Absent Friends". The humour ranges from the subtle (especially the class-reversed relationship between grammar school-educated Mainwaring, the local bank manager, and public school-educated Wilson, his deputy at the bank) to the slapstick (the antics of the elderly Jones being a prime example). Jones had several catchphrases, including "Don't panic!" (while panicking himself), "They don't like it up 'em!", "Permission to speak, sir?", "Handy-hock!" and his tales about the "Fuzzy-Wuzzies". Mainwaring's catchphrase to Pike is "You stupid boy", which he uses in many episodes. Other cast members used catchphrases, including Sergeant Wilson, who regularly asked, "Do you think that's wise, sir?" when Captain Mainwaring made a suggestion. The early series occasionally included darker humour, reflecting that, especially early in the war, the Home Guard was woefully under-equipped but was still willing to resist the Wehrmacht. For instance, in the episode "The Battle of Godfrey's Cottage", the platoon believes the enemy has invaded Britain. Mainwaring, Godfrey, Frazer and Jones (along with Godfrey's sisters, who are completely unaware of the invasion) decide to stay at the cottage to delay the German advance, buying the regular army time to arrive with reinforcements; "It'll probably be the end of us, but we're ready for that, aren't we, men?" says Mainwaring. "Of course," replies Frazer. Characters Private Pike (Ian Lavender) ARP Warden Hodges (Bill Pertwee) Private Frazer (John Laurie) Private Godfrey (Arnold Ridley) Captain Mainwaring (Arthur Lowe) Private Walker (James Beck) Lance Corporal Jones (Clive Dunn) Sergeant Wilson (John Le Mesurier) Main characters Captain George Mainwaring  (Arthur Lowe), the pompous, if essentially brave and unerringly patriotic local bank manager. Mainwaring appointed himself leader of his town's contingent of Local Defence Volunteers. He had been a lieutenant in the First World War but is embarrassed by the fact that he never saw combat, only being sent to France in 1919 after the Armistice as part of the Army of Occupation in Germany. The character, along with Wilson, also appeared in the original pilot episode of the radio series It Sticks Out Half a Mile. Sergeant Arthur Wilson (John Le Mesurier), a diffident, upper-middle-class chief bank clerk who often quietly questions Mainwaring's judgement ("Do you think that's wise, sir?"). Wilson had actually served as a captain during the First World War, but he only reveals this in the final episode. He does not live with the Pike family, but is implied to be in a relationship with the widowed Mrs Pike. Wilson also appears in the later radio series It Sticks Out Half a Mile. Lance Corporal Jack Jones (Clive Dunn), the local butcher, born in 1870. Jones is an old campaigner who enlisted as a drummer boy at the age of 14 and participated, as a boy soldier, in the Gordon Relief Expedition of 1884–85 and, as an adult, in Kitchener's campaign in the Sudan in 1896–98. Jones also served during the Boer War and the Great War. He often suffers from the effects of malaria caught during one of his campaigns and has to be calmed during his "shudders". Often seen as fastidious and a worrier, he has a number of catchphrases, including "They don't like it up 'em!" and "Don't panic, don't panic!", which he says whilst panicking. Dunn was considerably younger than his character, being only 46 when the series began. This meant he often performed the physical comedy of the show, which some of the older cast members were no longer capable of. Private James Frazer (John Laurie), a dour Scottish former chief petty officer on HMS Defiant in the Royal Navy. He served at the Battle of Jutland as a ship's cook and also has a medal for having served on Shackleton's Antarctic expedition. He grew up on the Isle of Barra and is prone to theatrical poetry. In episode one, he states that he owns a philately shop, but subsequently his profession is changed to an undertaker. His catchphrase is "We're doomed. Doomed!" Private Joe Walker (James Beck), a black market spiv, Walker is one of only two able-bodied men of military age among the main characters (the other one being Private Pike). In the first episode, Walker claims he was not called up to the regular army because he was in a reserved occupation as a wholesale supplier. In one of the missing episodes, it is revealed that he was not called up because of an allergy to corned beef. Although always on the lookout to make money, Walker is also seen to support local charities, including a children's home. Following James Beck's death in 1973, Walker was written out of the series. Private Charles Godfrey (Arnold Ridley), a retired shop assistant who had worked at the Army & Navy store in London. He lives in Walmington with his elderly sisters and serves as the platoon's medical orderly. He has a weak bladder and often needs to "be excused". A conscientious objector during the First World War, he was nevertheless awarded the Military Medal for heroic actions as a combat medic during the Battle of the Somme. He also demonstrates bravery during his Home Guard service, particularly during the "Branded" episode in which Mainwaring, unconscious in a smoke-filled room, is rescued by Godfrey. Private Frank Pike (Ian Lavender), the youngest of the platoon. He is a cosseted, somewhat immature mother's boy, often wearing a thick scarf over his uniform to prevent illness and a frequent target for Mainwaring's derision ("You stupid boy!"). Pike is not called up to the regular army due to his rare blood group (in series eight, he is excused for this reason). He works in his day job as an assistant bank clerk for Mainwaring. He frequently addresses Sergeant Wilson as "Uncle Arthur". However, on the last day of filming, David Croft confirmed to Lavender that Wilson was in fact Pike's father. Pike would later appear in the radio series It Sticks Out Half a Mile. Supporting characters Chief ARP Warden William Hodges (Bill Pertwee), the platoon's major rival and nemesis. He calls Mainwaring "Napoleon". Mainwaring looks down on him as the local greengrocer and dislikes that Hodges saw active service in the First World War. As an Air Raid Precautions (ARP) warden, he is always demanding that people "Put that light out!". He often calls the platoon "Ruddy hooligans!". The character of Hodges would later appear in the radio series It Sticks Out Half a Mile. Reverend Timothy Farthing (Frank Williams), the effete, petulant vicar of St Aldhelm's Church. He reluctantly shares his church hall and office with the platoon. In several episodes of the series, it was implied that the character was a non-active closet gay. Maurice Yeatman (Edward Sinclair), the verger at St Aldhelm's Church and Scoutmaster of the local Sea Scout troop. He is often hostile to the platoon while frequently sycophantic towards the vicar, who often struggles to tolerate him and frequently employs the catchphrase "Oh do be quiet, Mr Yeatman!". He often sides with Hodges to undermine the platoon's activities. Mrs Mavis Pike (Janet Davies), Pike's overbearing widowed mother, who is often implied to be in a relationship with Sergeant Wilson. Liz Frazer replaced Janet Davies in the 1971 film version. Mrs Fox (Pamela Cundell), a glamorous widow. There is a mutual attraction with Corporal Jones and the couple marry in the last episode. Illicit little "extras" are passed across the counter on her regular visits to Jones's butcher's shop and she helps the platoon with official functions. In the episode "Mum's Army", she gives her first name as Marcia, but by the final episode she is addressed as Mildred. Colonel Pritchard (Robert Raglan), Captain Mainwaring's superior officer. A stern, serious man, he unexpectedly appeared to admire Mainwaring, frequently commenting on his successes and warning people not to underestimate him. Private Sponge (Colin Bean), a sheep farmer. He leads the members of the platoon's second section (the first section being led by Corporal Jones) and thus had only occasional speaking parts, although he became more prominent in later series. He appeared in 76 of the 80 episodes. Mr Claude Gordon (Eric Longworth), the Walmington town clerk often involved when the platoon is taking part in local parades and displays. Although generally civil with Captain Mainwaring and his men, he is an officious and somewhat pompous individual, and Hodges tends to use him to try and interfere with the platoon's activities. Private Cheeseman (Talfryn Thomas), a Welshman who works for the town newspaper. He joined the Walmington-on-Sea platoon during the seventh series only after the sudden death of James Beck, who played Private Walker. Captain Square (Geoffrey Lumsden), the pompous commanding officer of the rival Eastgate platoon, and a former regular soldier who served with Lawrence of Arabia during the First World War. He is frequently at loggerheads with Mainwaring (whose name he persists in mispronouncing as spelt, "Main-wearing", instead of the correct "Mannering") and has the catchphrase "You blithering idiot!". Mrs Yeatman (Olive Mercer), the somewhat tyrannical wife of Maurice Yeatman, the verger. Over the course of the series, her first name is given as either Beryl, Anthea or Tracey. Mr Sidney Bluett (Harold Bennett), an elderly local man who is occasionally involved with the antics of both the platoon and Hodges. He and Mrs Yeatman are implied to be having an affair. Miss Janet King (Caroline Dowdeswell), a clerk at Swallow Bank who works with Mainwaring, Wilson and Pike in the first series. Edith Parish (Wendy Richard), also called Shirley, a cinema usherette and girlfriend of Private Walker. Dolly (Amy Dalby and Joan Cooper) and Cissy Godfrey (Nan Braunton and Kathleen Saintsbury), Private Godfrey's spinster sisters, who reside with him at their cottage. Elizabeth Mainwaring (unseen character), George Mainwaring's reclusive, paranoid and domineering wife who is never seen onscreen in the TV series. (In the episode "A Soldier's Farewell" her "shape" is seen sleeping in the bunk above the captain while in their Anderson Shelter.) Her marriage to George is not a happy one and he does his best to avoid her at any opportunity. They have no children. Mrs Mainwaring had a significant on screen role in the 2016 film. Other actors who appeared in small roles include Timothy Carlton, Don Estelle, Nigel Hawthorne, Geoffrey Hughes, Michael Knowles, John Ringham, Fulton Mackay, Anthony Sagar, Anthony Sharp, Carmen Silvera and Barbara Windsor. Larry Martyn appeared as an unnamed private in four episodes, and later took over the part of Walker in the radio series following the death of James Beck. The former cricketer Fred Trueman appeared in "The Test". Opening and closing credits The show's opening titles were originally intended to feature footage of refugees and Nazi troops, to illustrate the threat faced by the Home Guard. Despite opposition from the BBC's head of comedy Michael Mills, Paul Fox, the controller of BBC1, ordered that these be removed on the grounds that they were offensive. The replacement titles featured the animated sequence of swastika-headed arrows approaching Britain.[25] Originally in black and white, the opening titles were updated twice; firstly in series three, adding colour and improved animation, and once again in series six, which made further improvements to the animation. There were two different versions of the closing credits used in the show. The first version, used in series one and two, simply showed footage of the main cast superimposed over a still photograph, with the crew credits rolling over a black background. The better-known closing credits, introduced in series three, were a homage to the end credits of The Way Ahead (1944), a film which had covered the training of a platoon during the Second World War. In both instances, each character is shown as they walk across a smoke-filled battlefield. One of the actors in Dad's Army, John Laurie, also appeared in that film, and his performance in the end credits of The Way Ahead appears to be copied in the sitcom. Coincidentally, the film's lead character (played by David Niven) is named Lieutenant Jim Perry. Following this sequence, the end credits roll, and the platoon is shown in a wide angle shot as, armed, they run towards the camera, while bombs explode behind them. As the credits come to an end, the platoon run past the camera and the all clear siren rings, before the screen fades to black. Music The show's theme tune, "Who Do You Think You Are Kidding, Mr Hitler?" was Jimmy Perry's idea, written especially for the show and intended as a gentle pastiche of wartime songs. The other songs were authentic 1940s music recordings. Perry wrote the lyrics and composed the music with Derek Taverner. Perry persuaded one of his childhood idols, wartime entertainer Bud Flanagan, to sing the theme for 100 guineas (equivalent to £2,400 in 2023). Flanagan died less than a year after the recording. At the time it was widely believed to be a wartime song. The music over the opening credits was recorded at Riverside Studios, Flanagan being accompanied by the Orchestra of the Band of the Coldstream Guards. The version played over the opening credits differs slightly from the full version recorded by Flanagan; an edit removes, for timing reasons, two lines of lyric with the "middle eight" tune: "So watch out Mr Hitler, you have met your match in us/If you think you can crush us, we're afraid you've missed the bus." (The latter lyric is a reference to a speech by Neville Chamberlain.) Bud Flanagan's full version appears as an Easter egg on the first series DVD release and on the authorised soundtrack CD issued by CD41. Arthur Lowe also recorded a full version of the theme. The closing credits feature an instrumental march version of the song played by the Band of the Coldstream Guards conducted by Captain (later Lieutenant Colonel) Trevor L. Sharpe, ending with the air-raid warning siren sounding all-clear. It is accompanied by a style of credits that became a trademark of David Croft: the caption "You have been watching", followed by vignettes of the main cast. The series also contains genuine wartime and period songs between scenes, usually brief quotations that have some reference to the theme of the episode or the scene. Many appear on the CD soundtrack issued by CD41, being the same versions used in the series. Episodes List of Dad's Army episodes The television programme lasted nine series and was broadcast over nine years, with 80 episodes in total, including three Christmas specials and an hour-long special. At its peak, the programme regularly gained audiences of 18.5 million.[35] There were also four short specials broadcast as part of Christmas Night with the Stars in 1968, 1969, 1970 and 1972; one of which was also restaged as part of the Royal Variety Performance 1975. Missing episodes Main article: Dad's Army missing episodes The first two series were recorded and screened in black-and-white, while series three to nine were recorded and screened in colour. Even so, one episode in series three, "Room at the Bottom", formerly survived only as a 16mm black-and-white film telerecording, made for overseas sales to countries not yet broadcasting in colour; and remains on the official DVD releases in this form. This episode has benefited from colour recovery technology, using a buried colour signal (chroma dots) in the black-and-white film print to restore the episode to colour and was transmitted on 13 December 2008 on BBC Two. The newly restored colour version of "Room at the Bottom" was eventually made commercially available in 2023, when it appeared as an extra on the DVD release Dad's Army: The Missing Episodes, with a specially filmed introduction by Ian Lavender. Dad's Army was less affected than most from the wiping of videotape, but three second-series episodes remain missing: episode nine "The Loneliness of the Long Distance Walker", episode eleven "A Stripe for Frazer" and episode 12 "Under Fire". (All three missing episodes were among those remade for BBC Radio with most of the original cast, adapted from the original TV scripts. Audio recordings of all three were included as bonus features on The Complete Series DVD Collection.) Two further series two episodes, "Operation Kilt" and "The Battle of Godfrey's Cottage", were thought lost until 2001.[8] Two of the three missing episodes have since been performed as part of the latest stage show. In 2008, soundtracks of the missing episode "A Stripe for Frazer" and the 1968 Christmas Night with the Stars segment "Present Arms" were recovered. The soundtrack of "A Stripe for Frazer" has been mixed with animation to replace the missing images.[36] The audio soundtrack for the "Cornish Floral Dance" sketch, from the 1970 episode of Christmas Night with the Stars, has also been recovered. Dad's Army: The Lost Episodes (2019) In 2018, UKTV announced plans to recreate the three missing episodes for broadcast on its Gold channel. Mercury Productions, the company responsible for Saluting Dad's Army, Gold's 50th anniversary tribute series, produced the episodes, which were directed by Ben Kellett. The recreations were broadcast in August 2019, coinciding with the 50th anniversary of their original broadcast by the BBC.[37] Kevin McNally and Robert Bathurst were the initial casting announcements as Captain Mainwaring and Sergeant Wilson, with Bernard Cribbins portraying Private Godfrey. The full cast was announced in January 2019, with McNally, Bathurst and Cribbins joined by Kevin Eldon, Mathew Horne, David Hayman and Tom Rosenthal. However, Bernard Cribbins subsequently withdrew from the project, and was replaced as Godfrey by Timothy West. Cast Kevin McNally as Captain Mainwaring Robert Bathurst as Sergeant Wilson Kevin Eldon as Lance Corporal Jones David Hayman as Private Frazer Mathew Horne as Private Walker Timothy West as Private Godfrey Tom Rosenthal as Private Pike Tracy-Ann Oberman as Mrs Pike Simon Ludders as ARP Warden Hodges David Horovitch as Corporal-Colonel Square John Biggins as the Verger Films 1971 film Main article: Dad's Army (1971 film) In common with many British sitcoms of that era, Dad's Army was spun-off as a feature film which was released in 1971. Backers Columbia Pictures imposed arbitrary changes, such as recasting Liz Fraser as Mavis Pike and filming locations in Chalfont St Giles, Buckinghamshire, rather than Thetford in Norfolk, which made the cast unhappy. The director, Norman Cohen, whose idea it was to make the film, was nearly sacked by the studio.: 168  Jimmy Perry and David Croft wrote the original screenplay. This was expanded by Cohen to try to make it more cinematic; Columbia executives made more changes to plot and pacing. As finally realised, two-thirds of the film consists of the creation of the platoon; this was the contribution of Perry and Croft, and differs in a number of ways from the formation of the platoon as seen in the first series of the television version. The final third shows the platoon in action, rescuing hostages from the church hall where they had been held captive by the crewmen of a downed German aircraft. Neither the cast nor Perry and Croft were happy with the result. Perry argued for changes to try to reproduce the style of the television series, but with mixed results. Filming took place from 10 August to 25 September 1970 at Shepperton Studios and on location. After shooting the film, the cast returned to working on the fourth television series. The film's UK première was on 12 March 1971 at the Columbia Theatre, London. Critical reviews were mixed, but it performed well at the UK box-office. Discussions were held about a possible sequel, to be called Dad's Army and the Secret U-Boat Base, but the project never came to fruition.  Michael Gambon as Private Godfrey (2014) 2016 film Main article: Dad's Army (2016 film) A second film, written by Hamish McColl and directed by Oliver Parker, was released in 2016. The cast included Toby Jones as Captain Mainwaring, Bill Nighy as Sergeant Wilson, Tom Courtenay as Lance Corporal Jones, Michael Gambon as Private Godfrey, Blake Harrison as Private Pike, Daniel Mays as Private Walker and Bill Paterson as Private Frazer. Catherine Zeta-Jones, Sarah Lancashire and Mark Gatiss also featured. The film was primarily shot on location in Yorkshire. Filming took place on the beach at North Landing, Flamborough Head, Yorkshire and at nearby Bridlington. It opened in February 2016 to mainly negative reviews. Stage show Main article: Dad's Army (stage show) A poster advertising the stage show In 1975, Dad's Army transferred to the stage as a revue, with songs, familiar scenes from the show and individual "turns" for cast members. It was created by Roger Redfarn, who shared the same agent as the series' writers. Most of the principal cast transferred with it, with the exception of John Laurie, who was replaced by Hamish Roughead.[8] Following James Beck's death two years earlier, Walker was played by John Bardon.[8] Dad's Army: A Nostalgic Music and Laughter Show of Britain's Finest Hour opened at Billingham in Teesside on 4 September 1975 for a two-week tryout. After cuts and revisions, the show transferred to London's West End and opened at the Shaftesbury Theatre on 2 October 1975. On the opening night there was a surprise appearance by Chesney Allen, singing the old Flanagan and Allen song Hometown with Arthur Lowe. The show ran in the West End until 21 February 1976, disrupted twice by bomb scares and then toured the country until 4 September 1976. Clive Dunn was replaced for half the tour by Jack Haig (David Croft's original first choice for the role of Corporal Jones on television). Jeffrey Holland, who went on to star in several later Croft sitcoms, also had a number of roles in the production. The stage show, billed as Dad's Army—The Musical, was staged in Australia and toured New Zealand in 2004–2005, starring Jon English. Several sections of this stage show were filmed and have subsequently been included as extras on the final Dad's Army DVD. In April 2007, a new stage show was announced with cast members including Leslie Grantham as Private Walker and Emmerdale actor Peter Martin as Captain Mainwaring. The production contained the episodes "A Stripe for Frazer", "The Loneliness of the Long Distance Walker", "Room at the Bottom" and "The Deadly Attachment". In August 2017, a new two-man stage show titled, Dad's Army Radio Hour, opened at the Edinburgh Festival Fringe It starred David Benson and Jack Lane. Between them, the pair voiced the entire cast of Dad's Army, including incidental characters. The episodes adapted from the original radio scripts were "The Deadly Attachment", "The Day the Balloon Went Up", "Brain Versus Brawn", "My British Buddy", "Round and Round Went the Great Big Wheel" and "Mum's Army". The production featured three episodes not adapted for the radio series "When You've Got to Go", "My Brother and I" and "Never Too Old". The show was well received by critics and the David Croft estate for its respectful and uncanny performances. In 2019, the production changed its name to Dad's Army Radio Show and continued to tour nationally throughout the UK until the end of 2021. Radio series List of Dad's Army radio episodes The majority of the television scripts were adapted for BBC Radio 4 with the original cast, although other actors played Walker after James Beck's death (which took place soon after recording and before transmission of the first radio series). Harold Snoad and Michael Knowles were responsible for the adaptation,[8] while wartime BBC announcer John Snagge set the scene for each episode. Different actors were used for some of the minor parts: for example Mollie Sugden played the role of Mrs Fox, and Pearl Hackney played Mrs Pike. The first episode was based on the revised version of events seen in the opening of the film version, rather than on the television pilot. The series ran for three series and 67 episodes from 1974-76.[8] The entire radio series has been released on CD. Knowles and Snoad developed a radio series, It Sticks Out Half a Mile, which followed Sergeant Wilson, Private Pike and Warden Hodges's attempts to renovate a pier in the fictional town of Frambourne-on-Sea following the end of the war. It was originally intended to star Arthur Lowe and John Le Mesurier, but Lowe died after recording the pilot episode in 1981. In consequence, Bill Pertwee and Ian Lavender were brought in to replace him. In the event the revised cast recorded a 13-episode series. John Le Mesurier died in November 1983, making another series impossible. The last radio recording of Dad's Army occurred in 1995, when Jimmy Perry wrote a radio sketch entitled The Boy Who Saved England for the "Full Steam A-Hudd" evening broadcast on BBC Radio 2, transmitted on 3 June 1995 on the occasion of the closure of the BBC's Paris studios in Lower Regent Street. It featured Ian Lavender as Pike, Bill Pertwee as Hodges, Frank Williams as the Vicar and Jimmy Perry as General Haverlock-Seabag. American adaptation A pilot episode for an American remake called The Rear Guard, adapted for American viewers by Arthur Julian, was produced by the ABC and broadcast on 10 August 1976, based on the Dad's Army episode "The Deadly Attachment".[8] Set in Long Island, the pilot starred Cliff Norton as Captain Rosatti, Lou Jacobi as Sergeant Raskin and Eddie Foy Jr. as Lance Corporal Wagner. The pilot was considered a failure, so the original tapes were wiped. However, director Hal Cooper kept a copy of the pilot, which was returned to several collectors in 1998. Though further storylines were planned, the series failed to make it past the pilot stage. Other appearances Lowe, Le Mesurier, Laurie, Beck, Ridley and Lavender (wearing Pike's signature scarf) appeared as guests in the 22 April 1971 edition of The Morecambe & Wise Show on BBC2 in the "Monty on the Bonty" sketch, with Lowe as Captain Bligh and the others as crewmen on HMS Bounty. Lowe, Le Mesurier and Laurie again made a cameo appearance as their Dad's Army characters in the 1977 Morecambe & Wise Christmas Special. While Elton John is following incomprehensible instructions to find the BBC studios, he encounters them in a steam room. On leaving, Mainwaring calls him a "stupid boy". Arthur Lowe twice appeared on the BBC children's programme Blue Peter. The first time, in 1973, was with John Le Mesurier, in which the two appeared in costume and in character as Captain Mainwaring and Sergeant Wilson. Together they viewed and discussed a mural painted by schoolchildren, featuring the characters from the show at a Christmas party, among whom was Mainwaring's unseen wife Elizabeth – or rather, what the children thought she looked like (Mainwaring remarks "Good grief. What a remarkable likeness!"). Arthur Lowe made a second appearance as Captain Mainwaring on Blue Peter with the Dad's Army van, which would appear in the forthcoming London-Brighton run, and showed presenter John Noakes the vehicle's hidden anti-Nazi defences.[29][59] Later that year, Lowe, Le Mesurier, Dunn, Lavender and Pertwee, along with Jones's van, appeared in character at the finish of the 1974 London to Brighton Veteran Car Run. The cast appeared in a 1974 public information film, in character but set in the modern day, in which the platoon demonstrated how to cross the road safely at Pelican crossings. Lowe and Le Mesurier made a final appearance as their Dad's Army characters for a 1982 television commercial advertising Wispa chocolate bars. Clive Dunn made occasional appearances as Lance Corporal Jones at 1940s themed events in the 1980s and 1990s and on television on the BBC Saturday night entertainment show Noel's House Party on 27 November 1993. Awards During its original television run, Dad's Army was nominated for multiple British Academy Television Awards, although only won "Best Light Entertainment Programme" in 1971. It was nominated as "Best Situation Comedy" in 1973, 1974 and 1975. In addition, Arthur Lowe was frequently nominated for "Best Light Entertainment Performance" in 1970, 1971, 1973, 1975 and 1978. In 2000, the show was voted 13th in a British Film Institute poll of industry professionals of the 100 Greatest British Television Programmes. In 2004, championed by Phill Jupitus, it came fourth in the BBC poll to find Britain's Best Sitcom with 174,138 votes. Legacy Statue of Captain Mainwaring, erected in Thetford in June 2010 In June 2010, a statue of Captain Mainwaring was erected in the Norfolk town of Thetford where most of the exteriors for the TV series were filmed. The statue features Captain Mainwaring sitting to attention on a simple bench in Home Guard uniform, with his swagger stick across his knees. The statue is mounted at the end of a winding brick pathway with a Union Flag patterned arrowhead to reflect the opening credits of the TV series and the sculpture has been designed so that members of the public can sit beside Captain Mainwaring and have their photograph taken. The statue was vandalised not long after the unveiling by a 10-year-old boy, who kicked it for ten minutes and broke off the statue's glasses, throwing them into a nearby river. The statue has since been fixed. Several references to Dad's Army have been made in other television series. In a 1995 episode of Bottom, titled "Hole", Richie shouts Lance Corporal Jones's catchphrase while stuck up a Ferris wheel set to be demolished the following day. The British sitcom Goodnight Sweetheart paid tribute to Dad's Army in episode one of its second series in 1995, "Don't Get Around Much Any More". Here, lead character Gary Sparrow (Nicholas Lyndhurst) – a time-traveller from the 1990s – goes into a bank in 1941 and meets a bank manager named Mainwaring (Alec Linstead) and his chief clerk, Wilson (Terrence Hardiman), both of whom are in the Home Guard. When he hears the names Mainwaring and Wilson, Gary begins singing the Dad's Army theme song.[72] In addition, a brief visual tribute to Dad's Army is made at the start of the episode "Rag Week" from Ben Elton's 1990s sitcom The Thin Blue Line: a shopfront bears the name "Mainwaring's". In June 2018 the Royal Mail issued a set of eight stamps, featuring the main characters and their catchphrases, to mark the comedy's 50th anniversary. In 2020, Niles Schilder, for the Dad's Army Appreciation Society, wrote four short scripts which detailed how the characters from the series would have, in the author's opinion, dealt with the events of that year. Titles of the scripts included Dad's Army Negotiates Brexit and An Unauthorised Gathering. Cultural influence A pub in Shoeburyness named (albeit incorrectly) after Arthur Lowe's character The characters of Dad's Army and their catchphrases are well known in the UK due to the popularity of the series when originally shown and the frequency of repeats. Jimmy Perry recalls that before writing the sitcom, the Home Guard was a largely forgotten aspect of Britain's defence in the Second World War, something which the series rectified.  In a 1972 Radio Times interview, Arthur Lowe expressed surprise at the programme's success: We expected the show to have limited appeal, to the age group that lived through the war and the Home Guard. We didn't expect what has happened – that children from the age of five upwards would enjoy it too. By focusing on the comic aspects of the Home Guard in a cosy south coast setting, the television series distorted the popular perception of the organisation. Its characters represented the older volunteers within the Home Guard, but largely ignored the large numbers of teenagers and factory workers who also served. Accounts from Home Guard members and their regimental publications inspired Norman Longmate's history The Real Dad's Army (1974). Media releases Main articles: List of Dad's Army books and memorabilia and List of Dad's Army audio releases The first DVD releases of Dad's Army were two "best of" collections, released by the BBC and distributed by 2 Entertain, in October 2001 and September 2002. The first series and the surviving episodes of the second series, along with the documentary Dad's Army: Missing Presumed Wiped, were released in September 2004,[80] while the final series was released in May 2007.[81] In November 2007, the final episodes, the three specials "Battle of the Giants!", "My Brother and I" and "The Love of Three Oranges", were released, along with Dad's Army: The Passing Years documentary, several Christmas Night with the Stars sketches, and excerpts from the 1975-76 stage show.[82] From the third series DVD, We Are the Boys..., a short individual biographical documentary about the main actors and the characters they portrayed on the programme, was included as a special feature. The Columbia film adaptation is separately available; as this is not a BBC production, it is not included in the box set. In 1973 the series was adapted into a comic strip, drawn by Bill Titcombe, which was published in daily newspapers in the UK. These cartoon strips were subsequently collected together and published in book form, by Piccolo Books, in paperback. sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia #dadsarmy   The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affil

TikTok (and social media as a whole) has transformed the music industry, perhaps on the same level as the evolution of digital streaming—from enabling once-unrecognized artists like Chappell Roan to build massive online followings & successful careers overnight, to revolutionizing the way we market and promote live concerts and record releases. The industry has arguably changed for the better thanks to these tools, but the plot thickens with TikTok—perhaps the stickiest of all social media platforms, which also happens to be fully owned and operated by a Chinese company.Is TikTok a massive psyop for the CCP to gather security intel? The greatest propaganda tool ever invented (broadcasting straight into the minds of hundreds of millions of Americans)? Or is it simply a fun place to share videos? These questions have drawn the attention of everyone from presidents and executives of the world's largest companies, to the Supreme Court—all weighing in on what should happen.Through this conversation, Joseph Perla helps us make sense of what's happening and shares his vision for the second coming of Turntable.fm, called Hangout.fm. Hangout.fm is an exciting new social media platform that relies on HI (Human Intelligence) instead of AI, enabling friends to connect and share music in a fresh, engaging way. I was a user of Turntable.fm back in 2011 and loved the platform—I remember when record labels effectively shut it down. Now, Joseph has partnered with those same labels to refresh the service with a modern take.All this and more in the latest episode.(00:15) – The scoop: Is TikTok banned? Did Congress make it illegal? How are Trump's policies playing into this? Can people still use it now? Will it be sold?(7:25) – Is the TikTok ban beyond Trump? What does the letter of the law say? Could Apple and Google be fined for new downloads of TikTok?(11:22) – What is the secret sauce of the TikTok algorithm? Will they ever sell it?(16:44) – The role Meta's lobbyists and other tech giants have played in the TikTok ban.(19:05) – Unpacking the theory that TikTok is a security issue for the U.S.(31:45) – The argument that allowing TikTok is part of operating in the free world.(37:47) – How this impacts the music industry, Joseph's solution with Hangout, and the distinction between HI and AI (Human Intelligence vs. Artificial Intelligence).(38:50) – The evolution of Turntable.fm, how it was shut down by record labels, and how that eventually led to the launch of Hangout in a post-Spotify era. Plus, the overall evolution of the industry, from cassettes to digital MP3s to VR and AR.(51:50) – A new solution for using social media to market live showsPlease share this with anyone that might be interested in the topics, links below to subscribe and stay in the loop with the podcast and Prism:Subscribe ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠Join us in Prism's ⁠Hangout⁠ More on HangoutMore on⁠⁠⁠⁠⁠⁠ Prism⁠⁠⁠⁠⁠⁠Follow us on Instagram (⁠⁠⁠⁠⁠⁠@prismfm⁠⁠⁠⁠⁠⁠)Follow us on LinkedIn (⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠)Meet the Podcast Host/CEO of Prism -⁠⁠⁠⁠⁠⁠Matt Ford⁠⁠⁠⁠⁠⁠Opening Music -⁠⁠⁠⁠⁠⁠Papooz - The Garde⁠⁠⁠⁠

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's just perfect. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/sundaynightmystery A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers             sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia The New Adventures of Sherlock Holmes is a radio drama series which aired in the USA from 1939 to 1950, it ran for 374 episodes, with many of the later episodes considered lost media. The series was based on the Sherlock Holmes stories by Arthur Conan Doyle. Some of the surviving episode recordings may be found online, in various audio quality condition. For most of the show's run, the program starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Dr. Watson. Other actors played Holmes and Watson in later seasons. Production From the outset of the show, the series was billed in different listings under various titles including Sherlock Holmes, Sherlock Holmes and Doctor Watson, and other titles. The most popularly remembered title is The New Adventures of Sherlock Holmes. On occasion, the title of a radio episode differs from that of its original story – for example, the radio adaption of "The Adventure of the Red Circle" is entitled "Mrs. Warren's Lodger". From 1939 until 1943, episodes were adapted or written by Edith Meiser[4] who had written the earlier series The Adventures of Sherlock Holmes which aired from 1930 to 1935. Meiser left the show after disagreements with a sponsor over the amount of violence in the program. It is also reported that Meiser left the show to focus on other projects. From 1943 onward, most episodes were written by the team of Denis Green and Anthony Boucher with some early episodes written by Green and Leslie Charteris. Edith Meiser returned to write for the show for its seventh season. Max Ehrlich and Howard Merrill wrote the episodes of season 8. Denis Green returned as a writer for the last season. Originally, the show starred Basil Rathbone as Sherlock Holmes and Nigel Bruce as Doctor Watson. Together, they starred in 220 episodes which aired weekly on Mondays from 8:30 to 9:00 pm. Basil Rathbone's last episode as the famous detective was "The Singular Affair of the Baconian Cipher". He was eager to separate himself from the show to avoid being typecast in the role. Tom Conway replaced him in the starring role, though Nigel Bruce got top billing. The new series lasted 39 episodes, and Bruce and Conway then left the series. From then until 1950 the series continued with various actors playing the two principal parts. The show first aired on the Blue Network but later moved to the Mutual Broadcasting System. The show moved to Mutual in 1943 at the start of its fourth season. The series was originally broadcast from Hollywood. During World War II, the show was also broadcast overseas through the Armed Forces Radio Service. The program aired on ABC instead of Mutual for its sixth and ninth seasons. Many episodes were recorded in front of a live audience. Cast Sherlock Holmes: Basil Rathbone (1939–1946) Tom Conway (1947) John Stanley (1947–1949) Ben Wright (The Singular Affair of the Ancient Egyptian Curse in 1947, as stand-in for Tom Conway, 1949–1950 as a regular) Dr. Watson: Nigel Bruce (1939–1947) Joseph Kearns (The Haunting of Sherlock Holmes in 1946, stand-in for Nigel Bruce) Alfred Shirley (1947–1948) Ian Martin (1948) Wendell Holmes (credited as "George Spelvin") (1948–1949) Eric Snowden (The Terrifying Cats in 1946, as a stand-in for Nigel Bruce, 1949–1950 as a regular) There is only a limited amount of information available about additional cast members, since complete cast lists are available only for a handful of episodes. In multiple episodes, Mary Gordon played Mrs. Hudson, a role she also played in the 1939–1946 Sherlock Holmes film series featuring Rathbone and Bruce. Professor Moriarty was played by multiple actors in the radio series, including Joseph Kearns (who also played Watson) and Lou Merrill. Frederick Worlock played Inspector Lestrade in at least three known episodes. Worlock also played different roles in multiple films in the 1939–1946 film series, such as the role of Geoffrey Musgrave in Sherlock Holmes Faces Death. Lestrade was played by Bernard Lenrow in the seventh season and Horace Braham in the eighth season. Rex Evans played Mycroft Holmes in at least two known episodes. Evans played an assassin in the Sherlock Holmes film Pursuit to Algiers. In each episode, the announcer would be presented as arriving at the home of Dr. Watson, then retired, who would share a story about Holmes and his adventures. The announcer for the first three seasons of the show was Knox Manning. In various episodes of the fourth season, the announcers were Owen Babbe, Marx Hartman, and Bob Campbell. Harry Bartell became the announcer for the fifth season. The announcer for the sixth season was Joseph Bell. Bell had previously been the announcer for The Adventures of Sherlock Holmes. Cy Harrice took over the role for the seventh and eighth seasons. Herb Allen was the announcer for the ninth season.[28] Actors who performed in multiple roles on the show include Verna Felton, Paula Winslowe, Carl Harbord (who also played Inspector Hopkins in the Sherlock Holmes film Dressed to Kill), Herbert Rawlinson, Paul Frees, Theodore von Eltz, and June Foray. Sponsors The show's announcer acted as the spokesman for the sponsor. Grove's Bromo Quinine sponsored the show for the first three seasons. Petri Wine was the sponsor for the fourth and fifth seasons. Petri Wine stopped sponsoring the show after the end of the fifth season. While Rathbone left the show at the same time, the reason Petri ceased their sponsorship was unconnected to Rathbone's departure according to one source, which states that the decision was made because it was more affordable for Petri to sponsor the radio series The Casebook of Gregory Hood instead. The sponsor for the series was Kreml Hair Tonic for the show's sixth season, and the Trimount Clothing Co. for the seventh season. Trimount renewed their sponsorship for the eighth season. Petri Wine returned as the sponsor for the ninth season. By May 1950, it was confirmed that Petri did not plan to renew their sponsorship if the series continued. Episodes Season 1 (October 2, 1939 – March 11, 1940; 24 episodes) started with an adaptation of "The Adventure of the Sussex Vampire" and ended with an adaptation of "The Adventure of the Retired Colourman". The last episode of the season was originally intended to be an adaptation of "The Final Problem". It is not known why the change was made, but it may be because "The Final Problem" had already been used on radio several times. It was announced on the penultimate show that "The Final Problem" would be the last episode; in the final episode, Watson said he had changed his mind about which story he was going to tell. Season 2 (September 29, 1940 – March 9, 1941; 24 episodes) started with an adaptation of "The Adventure of the Empty House". The last episode was an adaptation of "The Adventure of Shoscombe Old Place". The season included a six-episode serial adapted from The Hound of the Baskervilles. Season 3 (5 October 1941 – March 1, 1942; 22 episodes) started with an adaptation of "The Adventure of the Illustrious Client" and ended with an episode titled "The Giant Rat of Sumatra". An episode also titled "The Giant Rat of Sumatra", inspired by a reference in "The Adventure of the Sussex Vampire", had previously aired in 1932 in the second season of the radio series The Adventures of Sherlock Holmes. Season 4 (May 7, 1943 – May 28, 1945; 109 episodes) started with a dramatization of "The Adventure of the Copper Beeches". The last episode of the season is titled "Dance of Death". According to the Pittsburgh Press, Nigel Bruce "astounded sound engineers" by imitating the sound of a seagull required for the episode "Death in Cornwall", which aired on February 7, 1944. Some episodes in this season and the following two seasons were novelized by H. Paul Jeffers in his 2005 book The Forgotten Adventures of Sherlock Holmes. Season 5 (September 3, 1945 – May 27, 1946; 39 episodes) started with an episode titled "The Case of the Limping Ghost", based on an incident in "The Adventure of the Crooked Man". The last episode of the season was "The Singular Affair of the Baconian Cipher", suggested by an incident in The Sign of Four. This was the last season with Basil Rathbone playing Sherlock Holmes.[42] Rathbone and Bruce also appeared on the CBS radio program Request Performance in November 1945, and swapped roles as Holmes and Watson in a short sketch performance on the program. Some of the episodes in this season were novelized by Ken Greenwald in his book The Lost Adventures of Sherlock Holmes (1989). Season 6 (October 12, 1946 – July 7, 1947; 39 episodes) started with the episode "The Adventure of the Stuttering Ghost", suggested by an incident in "The Adventure of the Noble Bachelor". The season ended with "The Adventure of the Iron Maiden".[45] This was the last season with Nigel Bruce playing Watson. Season 7 (September 28, 1947 – June 20, 1948; 39 episodes) started with "The Case of the Dog Who Changed His Mind" and ended with an adaptation of "The Adventure of the Veiled Lodger". Season 8 (September 12, 1948 – June 6, 1949; 39 episodes) started with an episode titled "The Case of the Unwelcome Ambassador" and ended with an episode titled "The Adventure of the Red Death". Season 9 (September 21, 1949 – June 14, 1950; 39 episodes) started with an episode with an unknown title. The second episode, which aired on September 28, 1949, was titled "The Eloquent Corpse". Many of this season's episodes, including the last two episodes, have unknown titles. The last episode with a known title is "Command Performance", which aired on May 31, 1950.             Sherlock Holmes is a fictional detective created by British author Arthur Conan Doyle. Referring to himself as a "consulting detective" in his stories, Holmes is known for his proficiency with observation, deduction, forensic science and logical reasoning that borders on the fantastic, which he employs when investigating cases for a wide variety of clients, including Scotland Yard. The character Sherlock Holmes first appeared in print in 1887's A Study in Scarlet. His popularity became widespread with the first series of short stories in The Strand Magazine, beginning with "A Scandal in Bohemia" in 1891; additional tales appeared from then until 1927, eventually totalling four novels and 56 short stories. All but one[a] are set in the Victorian or Edwardian eras, between about 1880 and 1914. Most are narrated by the character of Holmes's friend and biographer Dr. John H. Watson, who usually accompanies Holmes during his investigations and often shares quarters with him at the address of 221B Baker Street, London, where many of the stories begin. Though not the first fictional detective, Sherlock Holmes is arguably the best known. By the 1990s, there were already over 25,000 stage adaptations, films, television productions and publications featuring the detective, and Guinness World Records lists him as the most portrayed human literary character in film and television history. Holmes' popularity and fame are such that many have believed him to be not a fictional character but a real individual; numerous literary and fan societies have been founded on this pretence. Avid readers of the Holmes stories helped create the modern practice of fandom. The character and stories have had a profound and lasting effect on mystery writing and popular culture as a whole, with the original tales as well as thousands written by authors other than Conan Doyle being adapted into stage and radio plays, television, films, video games, and other media for over one hundred years. Inspiration for the character Sir Arthur Conan Doyle (1859–1930), Sherlock Holmes's creator, in 1914 Edgar Allan Poe's C. Auguste Dupin is generally acknowledged as the first detective in fiction and served as the prototype for many later characters, including Holmes. Conan Doyle once wrote, "Each [of Poe's detective stories] is a root from which a whole literature has developed ... Where was the detective story until Poe breathed the breath of life into it?" Similarly, the stories of Émile Gaboriau's Monsieur Lecoq were extremely popular at the time Conan Doyle began writing Holmes, and Holmes's speech and behaviour sometimes follow those of Lecoq. Doyle has his main characters discuss these literary antecedents near the beginning of A Study in Scarlet, which is set soon after Watson is first introduced to Holmes. Watson attempts to compliment Holmes by comparing him to Dupin, to which Holmes replies that he found Dupin to be "a very inferior fellow" and Lecoq to be "a miserable bungler". Conan Doyle repeatedly said that Holmes was inspired by the real-life figure of Joseph Bell, a surgeon at the Royal Infirmary of Edinburgh, whom Conan Doyle met in 1877 and had worked for as a clerk. Like Holmes, Bell was noted for drawing broad conclusions from minute observations.[13] However, he later wrote to Conan Doyle: "You are yourself Sherlock Holmes and well you know it". Sir Henry Littlejohn, Chair of Medical Jurisprudence at the University of Edinburgh Medical School, is also cited as an inspiration for Holmes. Littlejohn, who was also Police Surgeon and Medical Officer of Health in Edinburgh, provided Conan Doyle with a link between medical investigation and the detection of crime. Other possible inspirations have been proposed, though never acknowledged by Doyle, such as Maximilien Heller, by French author Henry Cauvain. In this 1871 novel (sixteen years before the first appearance of Sherlock Holmes), Henry Cauvain imagined a depressed, anti-social, opium-smoking polymath detective, operating in Paris. It is not known if Conan Doyle read the novel, but he was fluent in French.[19] Similarly, Michael Harrison suggested that a German self-styled "consulting detective" named Walter Scherer may have been the model for Holmes. Fictional character biography Family and early life Magazine cover featuring A Study in Scarlet, with drawing of a man lighting a lamp The cover page of the 1887 edition of Beeton's Christmas Annual, which contains Holmes's first appearance (A Study in Scarlet) Details of Sherlock Holmes' life in Conan Doyle's stories are scarce and often vague. Nevertheless, mentions of his early life and extended family paint a loose biographical picture of the detective. A statement of Holmes' age in "His Last Bow" places his year of birth at 1854; the story, set in August 1914, describes him as sixty years of age.[21] His parents are not mentioned, although Holmes mentions that his "ancestors" were "country squires". In "The Adventure of the Greek Interpreter", he claims that his grandmother was sister to the French artist Vernet, without clarifying whether this was Claude Joseph, Carle, or Horace Vernet. Holmes' brother Mycroft, seven years his senior, is a government official. Mycroft has a unique civil service position as a kind of human database for all aspects of government policy. Sherlock describes his brother as the more intelligent of the two, but notes that Mycroft lacks any interest in physical investigation, preferring to spend his time at the Diogenes Club. Holmes says that he first developed his methods of deduction as an undergraduate; his earliest cases, which he pursued as an amateur, came from his fellow university students. A meeting with a classmate's father led him to adopt detection as a profession. Life with Watson Holmes (in deerstalker hat) talking to Watson (in a bowler hat) in a railway compartment Holmes (right) and Watson in a Sidney Paget illustration for "The Adventure of Silver Blaze" In the first Holmes tale, A Study in Scarlet, financial difficulties lead Holmes and Dr. Watson to share rooms together at 221B Baker Street, London. Their residence is maintained by their landlady, Mrs. Hudson. Holmes works as a detective for twenty-three years, with Watson assisting him for seventeen of those years. Most of the stories are frame narratives written from Watson's point of view, as summaries of the detective's most interesting cases. Holmes frequently calls Watson's records of Holmes's cases sensational and populist, suggesting that they fail to accurately and objectively report the "science" of his craft: Detection is, or ought to be, an exact science and should be treated in the same cold and unemotional manner. You have attempted to tinge it [A Study in Scarlet] with romanticism, which produces much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid. ... Some facts should be suppressed, or, at least, a just sense of proportion should be observed in treating them. The only point in the case which deserved mention was the curious analytical reasoning from effects to causes, by which I succeeded in unravelling it. Nevertheless, when Holmes recorded a case himself, he was forced to concede that he could more easily understand the need to write it in a manner that would appeal to the public rather than his intention to focus on his own technical skill. Holmes's friendship with Watson is his most significant relationship. When Watson is injured by a bullet, although the wound turns out to be "quite superficial", Watson is moved by Holmes's reaction: It was worth a wound; it was worth many wounds; to know the depth of loyalty and love which lay behind that cold mask. The clear, hard eyes were dimmed for a moment, and the firm lips were shaking. For the one and only time I caught a glimpse of a great heart as well as of a great brain. All my years of humble but single-minded service culminated in that moment of revelation. After confirming Watson's assessment of the wound, Holmes makes it clear to their opponent that the man would not have left the room alive if he genuinely had killed Watson. Practice Holmes' clients vary from the most powerful monarchs and governments of Europe, to wealthy aristocrats and industrialists, to impoverished pawnbrokers and governesses. He is known only in select professional circles at the beginning of the first story, but is already collaborating with Scotland Yard. However, his continued work and the publication of Watson's stories raise Holmes's profile, and he rapidly becomes well known as a detective; so many clients ask for his help instead of (or in addition to) that of the police that, Watson writes, by 1887 "Europe was ringing with his name" and by 1895 Holmes has "an immense practice". Police outside London ask Holmes for assistance if he is nearby. A Prime Minister and the King of Bohemia visit 221B Baker Street in person to request Holmes's assistance; the President of France awards him the Legion of Honour for capturing an assassin; the King of Scandinavia is a client; and he aids the Vatican at least twice. The detective acts on behalf of the British government in matters of national security several times and declines a knighthood "for services which may perhaps some day be described". However, he does not actively seek fame and is usually content to let the police take public credit for his work. The Great Hiatus Holmes and Moriarty wrestling at the end of a narrow path, with Holmes's hat falling into a waterfall Holmes and archenemy Moriarty struggle at the Reichenbach Falls; drawing by Sidney Paget The first set of Holmes stories was published between 1887 and 1893. Conan Doyle killed off Holmes in a final battle with the criminal mastermind Professor James Moriarty[ in "The Final Problem" (published 1893, but set in 1891), as Conan Doyle felt that "my literary energies should not be directed too much into one channel". However, the reaction of the public surprised him very much. Distressed readers wrote anguished letters to The Strand Magazine, which suffered a terrible blow when 20,000 people cancelled their subscriptions to the magazine in protest. Conan Doyle himself received many protest letters, and one lady even began her letter with "You brute". Legend has it that Londoners were so distraught upon hearing the news of Holmes's death that they wore black armbands in mourning, though there is no known contemporary source for this; the earliest known reference to such events comes from 1949. However, the recorded public reaction to Holmes's death was unlike anything previously seen for fictional events. After resisting public pressure for eight years, Conan Doyle wrote The Hound of the Baskervilles (serialised in 1901–02, with an implicit setting before Holmes's death). In 1903, Conan Doyle wrote "The Adventure of the Empty House"; set in 1894, Holmes reappears, explaining to a stunned Watson that he had faked his death to fool his enemies. Following "The Adventure of the Empty House", Conan Doyle would sporadically write new Holmes stories until 1927. Holmes aficionados refer to the period from 1891 to 1894—between his disappearance and presumed death in "The Final Problem" and his reappearance in "The Adventure of the Empty House"—as the Great Hiatus. The earliest known use of this expression dates to 1946. Retirement In His Last Bow, the reader is told that Holmes has retired to a small farm on the Sussex Downs and taken up beekeeping as his primary occupation. The move is not dated precisely, but can be presumed to be no later than 1904 (since it is referred to retrospectively in "The Adventure of the Second Stain", first published that year). The story features Holmes and Watson coming out of retirement to aid the British war effort. Only one other adventure, "The Adventure of the Lion's Mane", takes place during the detective's retirement. Personality and habits Holmes examining a bicycle with Watson standing behind in "The Adventure of the Priory School" from 1904. Sidney Paget's illustrations in The Strand Magazine iconicised both characters. Watson describes Holmes as "bohemian" in his habits and lifestyle.[54] Said to have a "cat-like" love of personal cleanliness, at the same time Holmes is an eccentric with no regard for contemporary standards of tidiness or good order. Watson describes him as in his personal habits one of the most untidy men that ever drove a fellow-lodger to distraction. [He] keeps his cigars in the coal-scuttle, his tobacco in the toe end of a Persian slipper, and his unanswered correspondence transfixed by a jack-knife into the very centre of his wooden mantelpiece. ... He had a horror of destroying documents. ... Thus month after month his papers accumulated, until every corner of the room was stacked with bundles of manuscript which were on no account to be burned, and which could not be put away save by their owner. While Holmes can be dispassionate and cold, during an investigation he is animated and excitable. He has a flair for showmanship, often keeping his methods and evidence hidden until the last possible moment so as to impress observers. His companion condones the detective's willingness to bend the truth (or break the law) on behalf of a client—lying to the police, concealing evidence or breaking into houses—when he feels it morally justifiable. Except for that of Watson, Holmes avoids casual company. In "The Gloria Scott", he tells the doctor that during two years at college he made only one friend: "I was never a very sociable fellow, Watson ... I never mixed much with the men of my year." The detective goes without food at times of intense intellectual activity, believing that "the faculties become refined when you starve them". At times, Holmes relaxes with music, either playing the violin[62] or enjoying the works of composers such as Wagner and Pablo de Sarasate. Drug use Holmes in a blue bathrobe, reclining against a pillow and smoking his pipe 1891 Paget portrait of Holmes smoking his pipe for "The Man with the Twisted Lip" Holmes occasionally uses addictive drugs, especially in the absence of stimulating cases. He sometimes used morphine and sometimes cocaine, the latter of which he injects in a seven-per cent solution; both drugs were legal in 19th-century England. As a physician, Watson strongly disapproves of his friend's cocaine habit, describing it as the detective's only vice, and concerned about its effect on Holmes's mental health and intellect. In "The Adventure of the Missing Three-Quarter", Watson says that although he has "weaned" Holmes from drugs, the detective remains an addict whose habit is "not dead, but merely sleeping". Watson and Holmes both use tobacco, smoking cigarettes, cigars, and pipes. Although his chronicler does not consider Holmes's smoking a vice per se, Watson—a physician—does criticise the detective for creating a "poisonous atmosphere" in their confined quarters. Finances Holmes is known to charge clients for his expenses and claim any reward offered for a problem's solution, such as in "The Adventure of the Speckled Band", "The Red-Headed League", and "The Adventure of the Beryl Coronet". The detective states at one point that "My professional charges are upon a fixed scale. I do not vary them, save when I remit them altogether." In this context, a client is offering to double his fee, and it is implied that wealthy clients habitually pay Holmes more than his standard rate. In "The Adventure of the Priory School", Holmes earns a £6,000 fee (at a time where annual expenses for a rising young professional were in the area of £500). However, Watson notes that Holmes would refuse to help even the wealthy and powerful if their cases did not interest him. Attitudes towards women As Conan Doyle wrote to Joseph Bell, "Holmes is as inhuman as a Babbage's Calculating Machine and just about as likely to fall in love." Holmes says of himself that he is "not a whole-souled admirer of womankind", and that he finds "the motives of women ... inscrutable. ... How can you build on such quicksand? Their most trivial actions may mean volumes". In The Sign of Four, he says, "Women are never to be entirely trusted—not the best of them", a feeling Watson notes as an "atrocious sentiment". In "The Adventure of the Lion's Mane", Holmes writes, "Women have seldom been an attraction to me, for my brain has always governed my heart." At the end of The Sign of Four, Holmes states that "love is an emotional thing, and whatever is emotional is opposed to that true, cold reason which I place above all things. I should never marry myself, lest I bias my judgement." Ultimately, Holmes claims outright that "I have never loved." But while Watson says that the detective has an "aversion to women",[85] he also notes Holmes as having "a peculiarly ingratiating way with [them]". Watson notes that their housekeeper Mrs. Hudson is fond of Holmes because of his "remarkable gentleness and courtesy in his dealings with women. He disliked and distrusted the sex, but he was always a chivalrous opponent." However, in "The Adventure of Charles Augustus Milverton", the detective becomes engaged under false pretenses in order to obtain information about a case, abandoning the woman once he has the information he requires. Irene Adler Irene Adler is a retired American opera singer and actress who appears in "A Scandal in Bohemia". Although this is her only appearance, she is one of only a handful of people who best Holmes in a battle of wits, and the only woman. For this reason, Adler is the frequent subject of pastiche writing. The beginning of the story describes the high regard in which Holmes holds her: To Sherlock Holmes she is always the woman. I have seldom heard him mention her under any other name. In his eyes she eclipses and predominates the whole of her sex. It was not that he felt any emotion akin to love for Irene Adler. ... And yet there was but one woman to him, and that woman was the late Irene Adler, of dubious and questionable memory. Five years before the story's events, Adler had a brief liaison with Crown Prince of Bohemia Wilhelm von Ormstein. As the story opens, the Prince is engaged to another. Fearful that the marriage would be called off if his fiancée's family learns of this past impropriety, Ormstein hires Holmes to regain a photograph of Adler and himself. Adler slips away before Holmes can succeed. Her memory is kept alive by the photograph of Adler that Holmes received for his part in the case. Knowledge and skills Shortly after meeting Holmes in the first story, A Study in Scarlet (generally assumed to be 1881, though the exact date is not given), Watson assesses the detective's abilities: Knowledge of Literature – nil. Knowledge of Philosophy – nil. Knowledge of Astronomy – nil. Knowledge of Politics – Feeble. Knowledge of Botany – Variable. Well up in belladonna, opium, and poisons generally. Knows nothing of practical gardening. Knowledge of Geology – Practical, but limited. Tells at a glance different soils from each other. After walks, has shown me splashes upon his trousers, and told me by their colour and consistence in what part of London he had received them. Knowledge of Chemistry – Profound. Knowledge of Anatomy – Accurate, but unsystematic. Knowledge of Sensational Literature – Immense. He appears to know every detail of every horror perpetrated in the century. Plays the violin well. Is an expert singlestick player, boxer, and swordsman. Has a good practical knowledge of British law. In A Study in Scarlet, Holmes claims to be unaware that the Earth revolves around the Sun since such information is irrelevant to his work; after hearing that fact from Watson, he says he will immediately try to forget it. The detective believes that the mind has a finite capacity for information storage, and learning useless things reduces one's ability to learn useful things. The later stories move away from this notion: in The Valley of Fear, he says, "All knowledge comes useful to the detective", and in "The Adventure of the Lion's Mane", the detective calls himself "an omnivorous reader with a strangely retentive memory for trifles". Looking back on the development of the character in 1912, Conan Doyle wrote that "In the first one, the Study in Scarlet, [Holmes] was a mere calculating machine, but I had to make him more of an educated human being as I went on with him." Despite Holmes's supposed ignorance of politics, in "A Scandal in Bohemia" he immediately recognises the true identity of the disguised "Count von Kramm". At the end of A Study in Scarlet, Holmes demonstrates a knowledge of Latin. The detective cites Hafez,[98] Goethe,[99] as well as a letter from Gustave Flaubert to George Sand in the original French. In The Hound of the Baskervilles, the detective recognises works by Godfrey Kneller and Joshua Reynolds: "Watson won't allow that I know anything of art, but that is mere jealousy since our views upon the subject differ." In "The Adventure of the Bruce-Partington Plans", Watson says that "Holmes lost himself in a monograph which he had undertaken upon the Polyphonic Motets of Lassus", considered "the last word" on the subject—which must have been the result of an intensive and very specialized musicological study which could have had no possible application to the solution of criminal mysteries. Holmes is a cryptanalyst, telling Watson that "I am fairly familiar with all forms of secret writing, and am myself the author of a trifling monograph upon the subject, in which I analyse one hundred and sixty separate ciphers." Holmes also demonstrates a knowledge of psychology in "A Scandal in Bohemia", luring Irene Adler into betraying where she hid a photograph based on the premise that a woman will rush to save her most valued possession from a fire. Another example is in "The Adventure of the Blue Carbuncle", where Holmes obtains information from a salesman with a wager: "When you see a man with whiskers of that cut and the 'Pink 'un' protruding out of his pocket, you can always draw him by a bet ... I daresay that if I had put 100 pounds down in front of him, that man would not have given me such complete information as was drawn from him by the idea that he was doing me on a wager." Maria Konnikova points out in an interview with D. J. Grothe that Holmes practises what is now called mindfulness, concentrating on one thing at a time, and almost never "multitasks". She adds that in this he predates the science showing how helpful this is to the brain. Holmesian deduction Colour illustration of Holmes bending over a dead man in front of a fireplace Sidney Paget illustration of Holmes examining a corpse for "The Adventure of the Abbey Grange" Holmes observes the dress and attitude of his clients and suspects, noting skin marks (such as tattoos), contamination (such as ink stains or clay on boots), emotional state, and physical condition in order to deduce their origins and recent history. The style and state of wear of a person's clothes and personal items are also commonly relied on; in the stories, Holmes is seen applying his method to items such as walking sticks, pipes, and hats. For example, in "A Scandal in Bohemia", Holmes infers that Watson had got wet lately and had "a most clumsy and careless servant girl". When Watson asks how Holmes knows this, the detective answers: It is simplicity itself ... my eyes tell me that on the inside of your left shoe, just where the firelight strikes it, the leather is scored by six almost parallel cuts. Obviously they have been caused by someone who has very carelessly scraped round the edges of the sole in order to remove crusted mud from it. Hence, you see, my double deduction that you had been out in vile weather, and that you had a particularly malignant boot-slitting specimen of the London slavey. In the first Holmes story, A Study in Scarlet, Dr. Watson compares Holmes to C. Auguste Dupin, Edgar Allan Poe's fictional detective, who employed a similar methodology. Alluding to an episode in "The Murders in the Rue Morgue", where Dupin determines what his friend is thinking despite their having walked together in silence for a quarter of an hour, Holmes remarks: "That trick of his breaking in on his friend's thoughts with an apropos remark ... is really very showy and superficial."[112] Nevertheless, Holmes later performs the same 'trick' on Watson in "The Cardboard Box" and "The Adventure of the Dancing Men". Though the stories always refer to Holmes's intellectual detection method as "deduction", Holmes primarily relies on abduction: inferring an explanation for observed details. "From a drop of water," he writes, "a logician could infer the possibility of an Atlantic or a Niagara without having seen or heard of one or the other." However, Holmes does employ deductive reasoning as well. The detective's guiding principle, as he says in The Sign of Four, is: "When you have eliminated the impossible, whatever remains, however improbable, must be the truth." Despite Holmes's remarkable reasoning abilities, Conan Doyle still paints him as fallible in this regard (this being a central theme of "The Yellow Face"). Forensic science See caption 19th-century Seibert microscope Though Holmes is famed for his reasoning capabilities, his investigative technique relies heavily on the acquisition of hard evidence. Many of the techniques he employs in the stories were at the time in their infancy. The detective is particularly skilled in the analysis of trace evidence and other physical evidence, including latent prints (such as footprints, hoof prints, and shoe and tire impressions) to identify actions at a crime scene, using tobacco ashes and cigarette butts to identify criminals, utilizing handwriting analysis and graphology, comparing typewritten letters to expose a fraud, using gunpowder residue to expose two murderers, and analyzing small pieces of human remains to expose two murders. Because of the small scale of much of his evidence, the detective often uses a magnifying glass at the scene and an optical microscope at his Baker Street lodgings. He uses analytical chemistry for blood residue analysis and toxicology to detect poisons; Holmes's home chemistry laboratory is mentioned in "The Naval Treaty". Ballistics feature in "The Adventure of the Empty House" when spent bullets are recovered to be matched with a suspected murder weapon, a practice which became regular police procedure only some fifteen years after the story was published. Laura J. Snyder has examined Holmes's methods in the context of mid- to late-19th-century criminology, demonstrating that, while sometimes in advance of what official investigative departments were formally using at the time, they were based upon existing methods and techniques. For example, fingerprints were proposed to be distinct in Conan Doyle's day, and while Holmes used a thumbprint to solve a crime in "The Adventure of the Norwood Builder" (generally held to be set in 1895), the story was published in 1903, two years after Scotland Yard's fingerprint bureau opened. Though the effect of the Holmes stories on the development of forensic science has thus often been overstated, Holmes inspired future generations of forensic scientists to think scientifically and analytically. Disguises Holmes displays a strong aptitude for acting and disguise. In several stories ("The Sign of Four", "The Adventure of Charles Augustus Milverton", "The Man with the Twisted Lip", "The Adventure of the Empty House" and "A Scandal in Bohemia"), to gather evidence undercover, he uses disguises so convincing that Watson fails to recognise him. In others ("The Adventure of the Dying Detective" and "A Scandal in Bohemia"), Holmes feigns injury or illness to incriminate the guilty. In the latter story, Watson says, "The stage lost a fine actor ... when [Holmes] became a specialist in crime." Guy Mankowski has said of Holmes that his ability to change his appearance to blend into any situation "helped him personify the idea of the English eccentric chameleon, in a way that prefigured the likes of David Bowie". Agents Until Watson's arrival at Baker Street, Holmes largely worked alone, only occasionally employing agents from the city's underclass. These agents included a variety of informants, such as Langdale Pike, a "human book of reference upon all matters of social scandal", and Shinwell Johnson, who acted as Holmes's "agent in the huge criminal underworld of London". The best known of Holmes's agents are a group of street children he called "the Baker Street Irregulars". Combat Long-barreled revolver with a black handle British Army (Adams) Mark III, the type probably carried by Watson Pistols Holmes and Watson often carry pistols with them to confront criminals—in Watson's case, his old service weapon (probably a Mark III Adams revolver, issued to British troops during the 1870s).[139] Holmes and Watson shoot the eponymous hound in The Hound of the Baskervilles, and in "The Adventure of the Empty House", Watson pistol-whips Colonel Sebastian Moran. In "The Problem of Thor Bridge", Holmes uses Watson's revolver to solve the case through an experiment. Other weapons As a gentleman, Holmes often carries a stick or cane. He is described by Watson as an expert at singlestick, and uses his cane twice as a weapon. In A Study in Scarlet, Watson describes Holmes as an expert swordsman, and in "The Gloria Scott", the detective says he practised fencing while at university.[59] In several stories ("A Case of Identity", "The Red-Headed League", "The Adventure of the Six Napoleons"), Holmes wields a riding crop, described in the latter story as his "favourite weapon". Personal combat Holmes fighting Holmes outfighting Mr Woodley in "The Solitary Cyclist" The detective is described (or demonstrated) as possessing above-average physical strength. In "The Yellow Face", Holmes's chronicler says, "Few men were capable of greater muscular effort." In "The Adventure of the Speckled Band", Dr. Roylott demonstrates his strength by bending a fire poker in half. Watson describes Holmes as laughing and saying, "'If he had remained I might have shown him that my grip was not much more feeble than his own.' As he spoke he picked up the steel poker and, with a sudden effort, straightened it out again." Holmes is an adept bare-knuckle fighter; "The Gloria Scott" mentions that Holmes boxed while at university. In The Sign of Four, he introduces himself to McMurdo, a prize fighter, as "the amateur who fought three rounds with you at Alison's rooms on the night of your benefit four years back". McMurdo remembers: "Ah, you're one that has wasted your gifts, you have! You might have aimed high if you had joined the fancy." In "The Yellow Face", Watson says: "He was undoubtedly one of the finest boxers of his weight that I have ever seen." In "The Solitary Cyclist", Holmes visits a country pub to make enquiries regarding a certain Mr Woodley which results in violence. Mr Woodley, Holmes tells Watson, ... had been drinking his beer in the tap-room, and had heard the whole conversation. Who was I? What did I want? What did I mean by asking questions? He had a fine flow of language, and his adjectives were very vigorous. He ended a string of abuse by a vicious backhander, which I failed to entirely avoid. The next few minutes were delicious. It was a straight left against a slogging ruffian. I emerged as you see me. Mr. Woodley went home in a cart. Another character subsequently refers to Mr Woodley as looking "much disfigured" as a result of his encounter with Holmes. In "The Adventure of the Empty House", Holmes tells Watson that he used a Japanese martial art known as baritsu to fling Moriarty to his death in the Reichenbach Falls. "Baritsu" is Conan Doyle's version of bartitsu, which combines jujitsu with boxing and cane fencing.       The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-r

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