Podcasts about My Brother

My Brother in Law wants the "Family Discount" on something I am selling on FB Market Place...See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this deeply personal and spiritually charged episode of Flow, Cam Cooksey takes listeners on an emotional journey through the lens of brotherhood, faith, and the fight for truth. Titled after the classic ballad “He Ain't Heavy, He's My Brother,” Cam opens up about growing up alongside his autistic older brother, sharing heartfelt stories, difficult realities, and the transformative beauty that comes from embracing challenges with love and faith. This isn't just an autism awareness episode, it's a raw conversation about the weaponization of medicine, the soul-crushing effects of over-vaccination, and the silent epidemic few dare to name. Cam blends his personal experience with community insight, shining light on heavy metals, EMFs, and detox protocols like chlorine dioxide that are being explored by families searching for answers. As the show flows from deep philosophical insights to vulnerable chats with the live audience, Cam reminds us that being our brother's keeper isn't a burden...it's our calling. Whether discussing spiritual warfare, the poisoning of our children, or the power of authenticity in a broken world, this episode is a testament to grace, grit, and the light that lives within us all. Honest. Redemptive. Unmissable.

Today's boys and young men are having a tough time. By several measures of success and happiness, they're struggling to keep up and turning to the internet for help, where many end up hooked by extremists. We need to find better ways to frame the problem, support them and push them in the right direction. The solution starts with a frank conversation about what's really going on, according to the experts on this panel from the 2024 Aspen Ideas Festival. Richard Reeves founded the American Institute for Boys and Men and wrote “Of Boys and Men: Why the Modern Male is Struggling, Why It Matters and What To Do About It,” in 2022. He's joined by Michael Strautmanis of the Obama Foundation and My Brother's Keeper Alliance, along with Maryland Governor Wes Moore. NBC News correspondent Stephanie Ruhle moderates the conversation. aspenideas.org

Vanessa Sinclair, PsyD is a psychoanalyst in private practice, who works remotely online with people all over the world. She hosts the internationally-renowned podcast Rendering Unconscious, which was awarded the Gradiva Award for Digital Media by the National Association for the Advancement of Psychoanalysis (NAAP).Dr. Sinclair is the author of Things Happen (2024), Scansion in Psychoanalysis and Art: The Cut in Creation (2021), The Pathways of the Heart (2021), and Switching Mirrors (2016).She is the editor of Psychoanalytic Perspectives on the Films of Ingmar Bergman: From Freud to Lacan and Beyond(2023), as well as the Rendering Unconscious: Psychoanalytic Perspectives book series.Dr. Sinclair co-edited The Queerness of Psychoanalysis: From Freud and Lacan to Laplanche and Beyond (2025) with Elisabeth Punzi and Myriam Sauer, as well as Outsider Inpatient: Reflections on Art as Therapy (2021) with Elisabeth Punzi, On Psychoanalysis and Violence: Contemporary Lacanian Perspectives (2019) with Manya Steinkoler, and The Fenris Wolf vol 9 (2017) and The Fenris Wolf vol 11 (2022) with Carl Abrahamsson. She is a founding member of Das Unbehagen: A Free Association for Psychoanalysis, sits on the International Advisory Board for the journal Psychoanalysis, Culture & Society, and is Editorial Advisor for Parapraxis Magazine.Vanessa and I talk about her upcoming course with Morbid Anatomy, “The Cut in Creation: Exploring the Avant-Garde, Dada, Surrealism, Modern Art, Noise Music, and Performance Art through a Psychoanalytic Lens.” This course will be taking place on Sundays, from May 25- June 15, and all classes will be recorded for those who can't make it to the live class for whatever reason.As the Morbid Anatomy website states: Drawing on the theories of a variety of psychoanalysts, including Freud, Lacan and Laplanche, the course will explore the long and rich relationship between psychoanalysis and the fine arts – from painting and music to poetry, collage, photography, film, and performance art, including the use of technology and body modification to explore aspects of identity, gender and sexuality. Through immersion in the work of these artists and psychoanalytic ideas, participants will walk away with a better understanding of the transformative process inherent of the act of creation itself, especially when used as a powerful disruption of narrative, and hopefully feel inspired themselves to create! In this discussion, Vanessa gives a sneak peek into each of the four parts of the course. Some highlights are: talking about the inspiration for the course;outlining the events that led to the creation of psychoanalysis as well as the avant-garde movement;expanding on the historical backdrop – what was happening during these years that created this paradigm shift;looking at the years leading up to WW1, and what was taking place then, focusing on psychoanalysis and the avant-garde art scenes;focusing on surrealism and later developments in experimental film, followed by some discussion on the Beat Poets, and outlining how these three are interconnected;focusing on the birth of pop art, and art as it moved from the galleries to the streets, as well as performance art that included the body as an important vehicle/tool of expression. PROGRAM NOTES:Vanessa's website (with all links): Dr Vanessa SinclairMorbid Anatomy Course:The Cut in Creation: Exploring the Avant-Garde, Dada, Surrealism, Modern Art, Noise Music, and Performance Art through a Psychoanalytic Lens, Led by Vanessa Sinclair, PsyD, Begins May 25 — Morbid AnatomySelected Works:Amazon.com: Scansion in Psychoanalysis and Art (Art, Creativity, and Psychoanalysis Book Series): 9780367567262: Sinclair, Vanessa: BooksAmazon.com: The Queerness of Psychoanalysis: 9781032603827: Sinclair, Vanessa, Punzi, Elisabeth, Sauer, Myriam: BooksPodcast Rendering Unconscious:Podcast – Dr Vanessa SinclairInstagram:InstagramRobert Frank, Me and My Brother (1968)Me and My Brother (1968) - IMDbMusic, Editing and Video Production: Stephanie Shea

Lord of the Rings Catch-Up and Andor Preview  Manu (@ManuclearBomb) and Emily (@JRRTweetien) are finally back in the Shire, ready to catch up on the latest in Middle-Earth content...which we may or may not have watched/finished. In that we talk about Rings of Power Season 2 as well as the new animated film War of the Rohirrim. But that's all besides the point - Andor Season 2 is almost here! We discuss our expectations for the final season as well as our plan to cover it! --- Emily wrote a chapter in In One Woman's Life: Celebrating Mary Brooksbank! Get a copy here! Become a Patron of My Brother, My Captain, My Podcast My Brother, My Captain, My Podcast Reference Guide My Brother, My Captain, My Podcast on Twitter My Brother, My Captain, My Podcast on Instagram Manu's Twitter Emily's Twitter

Have any questions, insights, or feedback? Send me a text!Length of article: 3 pageLength of audio: 8 minutes 40 secondsSynopsis: This is the audio version of the 3-page article I co-wrote and published on rabbischneeweiss.substack.com/ on 4/11/25, titled: Egypt Reflections as a Jew (by My Brother). My globetrotting brother's reflections on his trip to Egypt—poignant words that move me to tears every time I read them, especially going into Pesach. And yes, I started crying while making the audio.-----The Torah content from now until Erev Pesach has been sponsored by Yehudis Korn l'zecher nishmas Moshe ben Yeshayahu Yehuda.-----If you've gained from what you've learned here, please consider contributing to my Patreon at www.patreon.com/rabbischneeweiss. Alternatively, if you would like to make a direct contribution to the "Rabbi Schneeweiss Torah Content Fund," my Venmo is @Matt-Schneeweiss, and my Zelle and PayPal are mattschneeweiss at gmail. Even a small contribution goes a long way to covering the costs of my podcasts, and will provide me with the financial freedom to produce even more Torah content for you.If you would like to sponsor a day's or a week's worth of content, or if you are interested in enlisting my services as a teacher or tutor, you can reach me at rabbischneeweiss at gmail. Thank you to my listeners for listening, thank you to my readers for reading, and thank you to my supporters for supporting my efforts to make Torah ideas available and accessible to everyone.-----Substack: rabbischneeweiss.substack.com/Patreon: patreon.com/rabbischneeweissYouTube Channel: youtube.com/rabbischneeweissInstagram: instagram.com/rabbischneeweiss/"The Stoic Jew" Podcast: thestoicjew.buzzsprout.com"Machshavah Lab" Podcast: machshavahlab.buzzsprout.com"The Mishlei Podcast": mishlei.buzzsprout.com"Rambam Bekius" Podcast: rambambekius.buzzsprout.com"The Tefilah Podcast": tefilah.buzzsprout.comOld Blog: kolhaseridim.blogspot.com/WhatsApp Content Hub (where I post all my content and announce my public classes): https://chat.whatsapp.com/GEB1EPIAarsELfHWuI2k0HAmazon Wishlist: amazon.com/hz/wishlist/ls/Y72CSP86S24W?ref_=wl_sharel

Interview with John Dornellas Todays interview is with John Dornellas about all things diving, hunting, and personal growth. We dive into why ego control is crucial, how good communication and teamwork can make all the difference and how letting go of pride can enhance the overall experience. John shares some thrilling stories about his halibut hunts, highlighting how addictive chasing these fish can be. We also talk about John's unique approach called "Wolf Walk," a cool technique for building self-awareness and tackling addiction. Plus, we get into the emotional side of freediving and how connecting with your dive buddy can boost trust and safety. Along the way, we touch on John's adventures hunting for megalodon teeth, finding that balance between passion and family, and his journey as a writer and photographer. There's a lot of great insights and inspiration packed into this chat! Important times 00:00 Intro 04:49 Welcome John Dornellas 05:51 Diving Tips and Personal Stories 18:08 The Importance of Ego and Teamwork in Diving 20:26 Advanced Diving Techniques and Safety 45:20 The Psychology of Hunting and Flow State 50:05 Analyzing the Fishing Environment 51:17 The Brain's Role in Memory and Learning 54:26 The Challenge of Hunting Halibut 01:03:49 The Wolf Walk: A Unique Training Method 01:26:43 Marketing and Integrity in Spearfishing 01:36:50 Diving into Spearfishing and Storytelling 01:37:14 The Motivation Behind Writing and Sponsorship 01:37:37 The Impact of Storytelling and Collaboration 01:39:46 A Tribute to My Brother and Writing a Book 01:41:04 The Emotional Journey of Spearfishing 01:46:08 The Importance of Safety in Spearfishing 01:56:14 Exploring Megalodon Teeth and Ancient Oceans 02:00:03 Wildlife Encounters and Viral Moments 02:11:37 Spearfishing in Alaska and Community Building 02:14:00 Final Thoughts and Reflections on Spearfishing Listen in and subscribe on iOS or Android Important Links   Noob Spearo Partners and Discount Codes | Get Spear Ready and make the most of your next spearfishing trip! 50 days to better spearfishing! | Use the code NOOBSPEARO to get FREE SHIPPING . Use the code NOOBSPEARO save $20 on every purchase over $200 at checkout – Flat shipping rate, especially in AUS! – Use the code NOOB10 to save 10% off anything store-wide. Free Shipping on USA orders over $99 | Simple, Effective, Dependable Wooden Spearguns. Use the Code NOOB to save $30 on any speargun:) | 10% off for listeners with code: NOOBSPEARO | ‘Spearo Dad' | ‘Jobfish Tribute' | 99 Spearo Recipes 28-day Freediving Transformation | Equalization Masterclass – Roadmap to Frenzel | The 5 minute Freediver | Break the 10 Meter Barrier – Use the code NOOBSPEARO to save . Listen to 99 Tips to Get Better at Spearfishing | Wickedly tough and well thought out gear! Check out the legendary  use the code NOOB15

GDP Script/ Top Stories for April 5th Publish Date: April 5th PRE-ROLL: MONSTER JAM From the BG AD Group Studio Welcome to the Gwinnett Daily Post Podcast. Today is Saturday, April 5th and Happy Birthday to Abba I’m Peyton Spurlock and here are your top stories presented by Gwinnett KIA Mall of Georgia. New Events Join Fan Favorites On Duluth's 2025 Events Schedule Third annual GGC summit focuses on achieving success Jordan Davis Coming To Gwinnett's Gas South Arena Plus, the Stripers report with manager Kanekoa Texeira All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen daily and subscribe! Break 1: 07.14.22 KIA MOG STORY 1: New Events Join Fan Favorites On Duluth's 2025 Events Schedule Duluth is spicing up its 2025 event lineup with new weeknight attractions and returning favorites. New events include *Wednesday Flavors on Main* (food trucks), *Parsons Thursday Nights Out* (music, trivia, movies), *Rock the Block Fridays* (live music), and *Dogtoberfest* (pet-friendly fun). Fan favorites like *Howl on the Green* (Halloween), *Duluth Derby Day*, *Viva Las Duluth*, and the *Summer Stage Concert* are also back. The Duluth Farmers & Artisan Market will run March-May and September-November, with the Children’s Entrepreneur Market held twice, on May 4 and November 2. STORY 2: Third annual GGC summit focuses on achieving success Georgia Gwinnett College’s third annual African American Male Initiative (AAMI) Summit inspired over 130 students from GGC, UNG, and Gordon State College to turn dreams into success stories. With the theme “He Ain’t Heavy, He’s My Brother! Dream Big,” the event emphasized self-worth, teamwork, and goal-setting. Speakers like Gustavious Maddox shared how AAMI shaped their college experiences and inspired initiatives like mentoring programs. Students like Coréon Johnson, GGC’s incoming Student Government president, and peer mentor Dallas Hogan highlighted AAMI’s role in fostering growth, leadership, and a supportive brotherhood to help participants achieve their aspirations. STORY 3: Jordan Davis Coming To Gwinnett's Gas South Arena Jordan Davis is bringing his 2025 *Ain’t Enough Road Tour* to Gwinnett’s Gas South Arena on Oct. 23, joined by Mitchell Tenpenny and Vincent Mason. Tickets go on general sale April 4 at 10 a.m. via JordanDavisOfficial.com. The CMA and ACM award-winning artist announced the tour with a humorous video featuring Peyton Manning and Jim Nantz. Davis also released his new single, “Bar None,” from his upcoming album, following hits like “I Ain’t Sayin’” and his platinum-selling *Bluebird Days* album, which produced four No. 1 singles. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We’ll be right back Break 2: MONSTER JAM STRIPERS INTERVIEW Break 3: MONSTER JAM STORY 6: Snellville Police Remind Drivers April is Distracted Driving Awareness Month As Distracted Driving Awareness Month begins, the Snellville Police Department is urging drivers to stay focused and avoid distractions behind the wheel. With distracted driving causing over 3,000 fatalities annually in the U.S., the rise of smartphones and in-car tech has increased risks. Key tips include putting phones away, setting up GPS or playlists before driving, and being a role model for safe habits. Snellville Police are hosting events, campaigns, and proactive traffic enforcement throughout April to combat distracted driving and promote road safety. STORY 7: First Resilient Gwinnett Summit Tackles Mental Health The inaugural *Becoming a Resilient Gwinnett Summit* brought 200 mental health professionals and community leaders together in Duluth to focus on mental health awareness and resilience. Featuring workshops, expert speakers, and a panel on workplace resilience, the event emphasized tools for building resilience in families, workplaces, and communities. Key highlights included Tra Battle’s message on overcoming trauma and Emily Valle’s focus on addressing childhood adversity. The Gwinnett Coalition introduced the *Resilient Gwinnett Toolkit*, an online resource for trauma-informed practices. The summit marked a significant step toward systemic change and fostering mental wellbeing across Gwinnett County. We’ll have closing comments after this Break 4: Ingles Markets 10 Signoff – Thanks again for hanging out with us on today’s Gwinnett Daily Post Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.gwinnettdailypost.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. 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The last days before the Great Hunt.Book 3 in 18 parts, By FinalStand. Listen to the ► Podcast at Explicit Novels.“Can the scorpion ever stop being a scorpion? “"Do we get our legally permitted weaponry back?" The bishop still held my hand."Sure. If it makes you feel better.""I would like to meet your people then," he gave my paw one last shake then released me. "Shall we go?""I will have someone take you to your car. I want to briefly meet with the President, of Havenstone, then I'll join you in the garage. We'll drive over to JIKIT and I'll make the introductions. Good enough?""That is acceptable," he nodded."What about you two?" I regarded the nun and the Swiss Super-soldier. The nun remained vigilant, and silent. The Swiss' eyes flickered to his boss before settling back on me."It is what I volunteered for," he stated firmly."Okay. Please never say I didn't give you a chance to take the sane way out. Also, Bishop Nicolö, circumstances have conspired to up my prospective wedding date to January 1st.""That will be more difficult. Why the change?" he remained grim."We are having twins. By March, this will be very visible.""That is, unfortunate," he shook his head."You have no idea," and then a brainstorm. "And I am curious about resurrecting the Order of the Dragon, the Societas Draconistarum." Technically that meant 'Society of the Dragonists' which was more appropriate than the literal Ordo Draconis."Precisely how do you plan to recreate a crusading Christian Order which was the purview of the Hungarian monarchs?" he didn't sound the least skeptical, just curious."I have billions of euros to fund such a thing," I winked. "Of far greater critical importance, I know where I can find the supernatural guidance and spiritual imperative for such an organization.""You are going to produce a dragon?" his eyes grew larger even as he fought down his fear. Good man. He was adaptive. He'd need to be."I never said such a thing. That would make me sound crazy," I smiled broadly. "Besides, when I say 'dragon', you think 'devil' and that's way too pedestrian for where we are going.""I am not a moral relativist.""Neither am I. I'm out to save lives and nurture the drive in the human spirit to reach for freedom, love and liberty. As you might imagine, I'm pretty freaking outnumbered.""I think you are crazy," he re-evaluated things."I just might be. In all honesty, you should back out now. Take your two compadres back to 25 East 39th Street (the Holy See's Permanent Observer Offices to the UN in NYC) and report 'Mission Failure'. You'll most likely live longer," I reasoned."I am not afraid to die," Sister Rafaela Sophia finally voiced an opinion."That's idiotic," I scoffed before the bishop could reprimand her for opening her mouth. "You should be.""My soul is in God's hands," she set her jaw."Does he talk to you?" I countered."His message is clear.""Not what I asked. I asked if he specifically directed you to toss your life fruitlessly away as an object lesson for the reckless, or careless?""This is uncalled for," Nicolö intervened."Nope. I bet you a phone call to my Brother to physically restore your bishopric that there are four people in this room who have murdered in cold blood," I kept eye contact with the nun, "and she's the odd one out. Right Juanita?""Yes, Ishara," Juanita slipped up. Her spycraft, like mine, needed work."You were in the military?" the bishop asked my bodyguard."Was? I am. Right now," she related. "I will be until I die."That earned me looks from the three Catholics."She is loyal," Nicolö nodded slightly toward her, referring to Juanita's declaration."Huh? To me? Nope. She's loyal to my office, which we shan't get into right now. Back to you, Sister Rafaela Sophia. Are you out to be a martyr, or has some saint, or angel, given you a directive the other two seem to be unaware of which causes you to devalue your life?""I am devoted to the One True God, Christ, our Savior," and Juanita snorted, "and the Virgin Mary," the nun stated firmly. "I don't hear voices in my head.""Juanita, that was rude. Apologize to our guest," I kept looking forward."No." Well, fuck you too."Gun," I commanded. I held out my left hand."What? No. I will not give you one of my guns," she resisted."Juanita, give me your primary weapon, or I will ask Pamela to beat you up the moment I depart for the Great Hunt. After yesterday's stunt, you know she will," I threatened. Fair, I was not. She drew a Glock-20 and handed it to me. I went through the routine, dropped the magazine then ejected the round before opening the door.Oh look, there were four SD chicks outside, ready to escort my visitors downstairs. I didn't even need to waste a phone call. It wasn't like the conference room wasn't being monitored."Excuse me," I took a half step out the door then hurled all three items down the hall. Looking back at Juanita. "Go fetch.""Fuck you," she snapped."And insulting her faith was as degrading to both her faith and her as me doing this to you is degrading to you right now," I lectured her. "It is important to her, therefore it is important to me because she is my guest in the same way it is important to me that I let my bodyguard do her job without being a total asshole all the time. Now go get your God-damn weapon," I barked. Off she went. I left the door open."Now Sister Rafaela Sophia, the point of all this is: I don't give a crap if you are willing to die for God. In fact, that makes you less than worthless to me and the team. I want to know if you are willing to put other motherfuckers in the ground so that Bishop Nicolá, or Mathias, might get to keep doing their jobs.""Murder is a sin," she declared."Go home," I sighed while shaking my head."She answers to me, the Church and God, not you, Mr. Nyilas," the bishop stepped forward."Then you can go home too," I shrugged. "I'm not asking for remorseless killers. I'm asking for people willing to kill to get the hard work done and best of all, for people who know the difference.""Everyone on JIKIT is a professional soldier, or killer?" he asked."No, but the ones who aren't don't carry guns and know to get down when things get funky," I bantered."I vouch for her," he insisted. Juanita came running back into the room."Cool beans. I don't know you either.""You apparently know my service history," he volleyed."Yeah. Ten years a foreigner in the service of France, then you went straight into a university which turns out Jesuits," I riposted."What turned your life around?" he evaded. That was okay. I'd gotten what I wanted. I was willing to bet he had read every bit of public information about me and it was rumored the heavy Catholic membership in the FBI had its benefits to the Church as well. Not so much as to give them insight into JIKIT, but,"Someone risked their life for me. It's been pretty much downhill from there," I confessed. It was the truth. After Katrina gave me the life line on Day Two, it had all spiraled to the revelation of my heritage, Dad's death, Summer Camp, the Hamptons, Romania and Aya's kidnapping."A person, a soldier, died saving my life," the bishop empathized. "Her story is similar. She seeks redemption. She is not suicidal. I am staking both our lives on it."Did he mean him and Mathias, or him and me? I wasn't certain. Still, it was good enough for now. I'd gotten a look at their emotional make up, even the relatively quiet Swiss."Very well," I agreed. "I have to go see the President about my new job description. I'll catch up with you at your car." To the SD team leader, "Take them to the garage. I will join the group of you very soon.""Yes Ishara," she nodded. I exited the room, Juanita in tow. Two SD entered. I was gone before the Papal team left. Upstairs we went, with one last chore to discharge. I had to check on Ms. French to be absolutely freaking sure it was Shawnee, because anyone else would spell disaster.{8:30 am, Monday, September 8th. Last day}A Room full of asistants:Well, there it was, the office of the Executive Director to the President, and not 'Executive Assistant', because this was Katrina's final 'fuck you, no, just her final 'fuck you' before the Great Hunt got underway. I shouldn't assume things, dang it!Anyway, according to the gray-haired matron running gatekeeper to the Office of the President, this was where I was supposed to show up. I shot Juanita a worried look. She glanced my way and shrugged, momentarily willing to not give me shit about the past 24 hours because where I was situated would determine how easily she could do her job.In we went. In the suite were three desks, the 'big' desk situated at the far end of the office space and two far more modest ones on either side of the entryway. The room expanded beyond the chokepoint formed by the two closest desks into a cluttered area. The walls were cluttered with inset bookshelves and portraits of women. Facing one another were a loveseat on my left with bookend plush chairs in an 'L' facing and a full sofa on the right. There were end tables at the ends of the sofa and the corners between the loveseat and each chair.As the door opened, I hadn't knock as this was my office, or so it seemed, the occupants, who had all been sitting in quiet conversation in the central section, began reacting. Oh look ~ Constanza! I nearly had a heart attack before I realized there were three other Amazons also in the room. Sadly, none were behind the 'big desk', so I couldn't tell who was in charge. Two of the other three choices weren't too much better. First off,"Ishara," Marilynn Saint John stood to greet me. I'd last seen her when I'd dedicated her grandmother's (Hayden's) spirit to the halls of my ancestors, not hers, after forcing the political crisis leading to Hayden's suicide ~ her taking herself to the cliffs and in doing so, destroying the Amazon Cult of Blood Purity. Marilynne was clearly still bitter with me. Umm, I could still incite passion in women I hadn't slept with, yet, woot?"Cáel," the senior-most and only friendly face in the room spoke next. Thank goodness it was Beyoncé Vincennes, Head of House Hanwasuit and House Ishara ally."Cáel Ishara," the third individual was deferential which I wasn't sure how to take as the last time I'd encountered her, yeah, things hadn't gone well either."Beyoncé," I started off with a smile. From there, I had to figure out, ah, Beyoncé's eyes flickered to Constanza then Sabia. I knew Marilynn, with her young age, had the least seniority, "Constanza, Sabia, Marilynn. How's tricks?"Glum faces by everyone except Beyoncé. I didn't ask about Sabia's particular well-being. It had been months since I'd beaten her into the mats of the Full-blooded gym. She'd attacked Yasmin, the Brazilian Hottie and my Brazilian Jujutsu sparring buddy, and I'd retaliated by ambushed her when she turned her back on us. Besides, she'd been giving me shit before I even could see straight.Constanza was minus her left eye because of her dire insult to me. If she wasn't capable of working, she wouldn't be here. If she appreciated my 'mercy' in sparing her life ~ her insult was worthy of her death ~ Constanza hid it well. I hadn't spared her expecting a change of heart. I hadn't felt words alone warranted anyone's death. I was a big boy and could take a few insults. House Ishara, as represented by me, could care less. These days, my sisters would be less understanding despite them knowing my heart."Constanza Landau of House Jaya and Marilynn Saint John of House Anahit are Assistants to President Shawnee French," Beyoncé eased things along, "so will be working closely with us, at least for the short term. Sabia Noel of House Guabancex, who I now think you know as well, has joined you as the other 'Assistant' to the 'Executive Director to the President', (that would make me an 'adept', but adept at what?), and since two of the three Regents are unfamiliar with the workings of Havenstone proper, Shawnee has asked me to perform in that role."Beyoncé was, or had been, Havenstone HQ's CFO (Chief Financial Officer). From what I was quickly piecing together, she would essentially be making all the day-to-day decisions concerning the running of Havenstone (how the Host made the majority of its money) until the Regents got up to speed.Only Buffy had actual experience with the New York office and, from what she had told me, solely within Executive Services. While ES knew 'who' did what inside Havenstone, they weren't aware precisely how those Amazons got their jobs done. That would have been an impossible task. Katrina could do it, but she knew it was beyond the ability of most of us 'mere mortals'. Since we were currently at war, the Host needed Katrina completely focused on her duties as Chief Spy-mistress, not baby-sitting the adults.Shawnee indeed had much gravitas among the other House Heads. Not only had she risen up to lead a First House, she had performed heroically during the final days of the last Secret War. Afterwards she had moved into the realm of Amazon jurisprudence and mediation. Until yesterday, she had lived in a House Arinniti freehold in Minnesota's Great Lakes region thus her desire for the 'Training Wheels' period.The Regency would not rule through telecommunication (the upper echelons feared being eavesdropped upon beyond the standard Amazon (read: paranoid) levels) and Havenstone: New York was the center best situated for the current war-fighting operations, so here she lived. I was sure a team from Executive Services was buying, outfitting/spy-proofing and fortifying a dwelling suitable for the President of a Fortune 500 company. Hayden's home would remain the domicile of Sydney thus Marilynn.The same rigmarole would be done for Rhada and Buffy (though I imaged Buffy would bitch endlessly). Publically, they were VP's of a company worth hundreds of billions of dollars and they had to present the public trappings of such leaders.Why did the Amazons do this ~ unmask their leadership to public exposure? Legal-simple: they could request and expect all levels of public and private security for their executives who happened to also be important officials of the Host. Certainly not all executives at Havenstone were officeholders, House Heads, or House Apprentices, but the high level of competence which permitted one often led to the other.Beyonce:As an example: Beyoncé wasn't the most 'bad-ass' lethal chick in House Hanwasuit. As she was preparing to be casted, her intelligence, creativity and diligence at her future craft, finances, was noted by the Host and the members of her House. In due time her name was circulated as Apprentice and the elders approved. When her elder cousin, the prior House Head, took herself to the cliffs, Beyoncé assumed the top spot. Beyoncé wasn't even one of that woman's three daughters.Mirroring her advancement in her House was her advancement in Havenstone's Accounting, Acquisitions and Banking Divisions until she was appointed CFO Havenstone HQ ~ the supreme financial authority inside Havenstone, though the individual regional branches had a greater degree of autonomy than you might normally expect from a 21st century conglomerate, or a Bronze Age autocracy.I had to constantly remind myself, despite the near-constant feuding, Amazons exhibited a phenomenally higher level of trust than I'd ever found in any other society I'd ever witnessed, or read about, before. Though technically Beyoncé could have gone to President Hayden to enforce her decisions ~ or now the Regency ~ she was far more diplomatic in her approach in dealing with the other 'continental' CEO's and CFO's.That meant she had to wrangle the aspirations and resources from:North America (including Latin America, the 'Canadian Arctic' and the North Pacific Ocean),South America (includes both the South Atlantic and South Pacific as far as Samoa),Europe (mostly Central Europe these days plus Antarctica, the 'Russian' Arctic and the North Atlantic),Africa (mostly West-central Africa),India (the subcontinent plus the vast expanse of the Indian Ocean) and,Southeast Asia (which includes Australia)All of which suggested Havenstone hadn't redrawn the Amazons' geographic demarcations since the late 19th century. As an example, an East African venture, say in Tanzania, was as likely to be under the purview of Havenstone: India (due to its control over the Indian Ocean) as Havenstone: Africa (which traditionally had no East Coast holdings due to their constant struggles versus the Arabic slave trade).Returning to Beyoncé: initially she had held the proper 'conservative' (aka man-hating) mindset. My behavior during that first Board Meeting began to change her opinion of me and the New Directive. After the Archery Range incident, Beyoncé became a vocal proponent of the New Directive and faced challenges within her ranks. House Heads do not have to accept challenges and Beyoncé didn't, reasoning with her detractors they had no alternatives save the 'Old Ways' which spelled doom for the Amazon Race.Bing-bang-boom ~ I became the Head of a resurrected House Ishara by the Will of the Ancestors and Beyoncé was vindicated. Not necessarily in the New Directive, but in her support of me thus the rebirth of a sister First House. The purge following High Priestess' Hayden's death was her ultimate absolution. The Ancestors and Destiny had spoken and shown Beyoncé had been piloting House Hanwasuit along the proper course all along.Back to my current circumstances:Oh, why was I Assistant to the Executive Director to the President? It gave me direct access to the finances of Havenstone which was a critical leg of the war-fighting stool ~ people, morale, money and equipment. As Chief Diplomat, I helped with all four of those in varying degrees, allied troops, allied victories, allied bank accounts and allied armaments.The Great Khan, my spiritual 'Blood-Brother', was ramping up his logistic support for my Amazons in Africa, Asia and the Americas. We were 'Allies in the Struggle' and he wasn't going to wait for the Condottieri to begin coordinating with the Seven Pillars to declare them to be his enemies. They were already fighting the Amazons and 9 Clans, his allies, so their fates were sealed.In Japan, my Amazons provided small yet highly effective strike groups which the Ninja families furnished all the support services for. Everything from food to bullets to medical attention as needed. Without reservation, we shared their death-grapple with the Seven Pillars.From the dispatches I was getting back from my family members and envoys in Japan, we were making serious diplomatic inroads with the Ninja. Once again, it was the Amazons shocking capacity for violence as well as their fanaticism, professionalism and proficiency which all impressed our hosts and terrified our enemies, and this from people of a philosophical mindset which had them historically battling samurai.The Black Lotus were running around like rhesus monkeys on crack cocaine unleashed in a China Shop and given RPG's. While the Amazons couldn't help them in China, Indochina & Thailand ~ the Khanate could and was. The Amazons were of more help in the Philippines, Malaysia and Indonesia, where the Black Lotus and Amazons were going everywhere on the offensive against the Seven Pillars while the normal tight cohesion and iron-clad confidence, traits which made the 7P's so dangerous ~ were shaken by their horrendous losses in the 'Homeland' aka Mainland China.Less we forget, the 'military intelligence' wing of their organization had been decimated by the Khanate's Anthrax attack due to members of the Earth & Sky sacrificing themselves by being injected with the toxin then allowing themselves to be captured, which always ended in torture and death.Furthermore, the People's Republic of China, while having a scary 18% of the population either captured, imprisoned, dead, or displaced due to the Khanate invasion, that had come with the loss of 63% of their landmass (they had lost all of Nei Mongol, Ningxia & Xinjiang Uighur Autonomous Regions, Qinghai and Gansu as well as 90% of Yunnan, 80% of Sichuan and 20% of Shaanxi provinces) to the Khanate and the 'abomination' that was a free Tibet.Then came the Russian 'stab in the back' which entailed the loss of another 10% of their people falling under foreign dominion as well as losing 8% of their most industrialized territory, Manchuria (Heilongjiang, Jilin and Liaoning provinces ~ the Nei Mongol portion of 'Manchuria' was in the Khanate's greedy clutches, from the viewpoint of a Seven P's warrior).Don't get me wrong, they weren't about to throw in the towel. If anything, they were becoming more dedicated to trying harder, digging deep into their knowledge of every atrocity, inhumanity and perversion now deemed necessary to re-chart history back onto its 'correct' path. It was this willingness to act in an even greater sociopathic manner which was being used against them. After all, the 7P's had plenty of proxy allies, who were starting to get really nervous about what their paymasters were now asking them to do,We Amazons were getting some extra special help too. The Booth-gan (Do not call them Thuggee ~ the confederate 9 Clan member based out of India though long since ensconced within various Hindi enclaves across the Globe) had created an all-female group of ultra-fanatical Kali-devotees ~ a gift for the upcoming battle fomented by the Will of the Goddess herself.While Aya was our Queen and the Regency would rule until she wished to assume command of the Amazon People, the nuts-and-bolts of the Host's activities were handled by Saint Marie as Golden Mare (our Minister of War) (technically she held the top spot due to our State of War, though no Golden Mare had ever exercised such authority over a Queen (and she definitely believed Aya was our Queen)), Katrina (as Minister of Intelligence and Security), Beyoncé (as Havenstone (the multinational corporation) ~ our Treasurer/Economic Tsarina) and me (our Foreign Minister).Saint Marie had decided to forgo a public face in order to better facilitate her moving around to various battle fronts and holding clandestine meetings with her junior regional commanders. Her Havenstone corporate title was 'Chief of Security Training and Certification'. As an extra level of deception, the head of Security Services wasn't even a Director-level position, instead being folded into the duties of the Office of the President.To my current circumstances ~ I had been given Constanza's house name which could only mean she wasn't currently assigned to the Security Detail; a fact that couldn't have made her bad attitude any better. Marilynn had completely lost her way as an Amazon when I first met her, burying her pain and confusion in endless partying and intoxicants. I believed only her grandmother's status as High Priestess kept her from the severest of reprimands, or death. I didn't even know what Marilynn's caste was. Sabia,"While I'm sure you are both far more qualified than I, precisely how did you two get these jobs?" I had to ask my two non-coworkers. Constanza glowered. Marilynn flinched."I have an in depth knowledge of Havenstone security procedures and resources," Constanza replied."Shawnee requested me," was Marilynn's comeback. "I also have intimate knowledge of the City of New York and its environs.""Actually, Buffy Ishara recommended you both to Shawnee," Beyoncé corrected their misconceptions. I knew the score. I'd be working intimately with the tight community around the President (Shawnee) and Vice Presidents (Buffy & Rhada). Buffy wanted me to be surrounded by women who hated my guts, so I wouldn't end up boinking them. It rarely worked that way. All too often ladies who hated my still-beating heart ended up punishing me with sex. I wasn't sure why that happened, but it did."Beyoncé, didn't the Chief Diplomat of the Host have her own office? I'm pretty sure Troika had one before her unfortunate collision with Saint Marie," I felt entitled to inquire."Do you feel you've earned that office space?" she riposted."Oh, fuck no!" I waved my hands one over the other to accentuate my denial. "I was just wondering where I could stick Juanita while I'm hanging around, here.""She has the desk right outside the door, Cáel," Beyoncé smiled knowingly. "So there is no way you can sneak past her.""Oh," I grunted. "Buffy again?""No. Pamela Pile put in that particular request.""Oh, Sweet Mother of God, now she is conspiring against me too?""Yes. Some of us realize the greatest hazard to your health is yourself, Ishara," Beyoncé chided me. "We'd like to keep you around, so we listen to those charged with that nigh impossible task.""Is she going to be hanging around the office often?" Constanza asked, either myself, Juanita, or Beyoncé; I wasn't sure. She = Pamela."Please, Constanza," I attempted to intervene, "don't make Pamela kill you. It will upset Mona." Constanza's scowl was accentuated by the eyepatch covering her ruined left socket, the one Pamela had carved out when Constanza had insulted me and House Ishara on our first day of rebirth. I didn't tell Juanita this, because Juanita might just shoot Constanza over the insult before Pamela got a chance to finish the job.The tension was palatable."Mona and I have talked, about Romania, and other things," Constanza grudgingly allowed. It took me a second to realize there was a hidden meaning to what she said. Mona was part of my personal Security Detail bodyguard unit. If she felt Constanza, the woman who had raised her after her birth-mother had died, was a threat to me, she'd feel duty-bound to snuff Constanza first. Amazons were hard-ass bitches alright and I think Mona had made that clear."I hope things can improve between us," I offered to Constanza. "Beyoncé, I just stopped in to say 'hey'. I'm off to JIKIT and I've got three of the Pope's people waiting on me in the garage so,""Vice President Varma requested a moment of your time," Beyoncé smirked. "She is in 2604.""Who?""Vice President Rhada Varma, a moment of your time, alone?" she clarified."Sure thing," I backed out of the office. Once I had some space, I turned to Juanita. "Give me three minutes then bust in and say, I don't know, a tsunami is about to overwhelm the city, or something. Otherwise, I won't get out for at least an hour and I think I've put the Bishop and his people through enough delays as it is.""Are you actually asking me to stop you from having an in-office liaison?" she studied me intently as we walked in the direction of Rhada's office."Yes. It's not likely to happen often, believe me.""Oh, I do, in that you won't ask me to do it often," she grumbled. I'd deal with Juanita's morale problem later. Right now, I had to gird my loins so they wouldn't do anything else with Rhada. I had work to do, damn it!Rhada was sitting at her desk, working on something, stylus raised up so she could chew on the end. Her hair was pulled back in a half-ponytail, the type that captured the rear half of the hair in a ponytail while leaving the front and bangs free to flow down. Rhada's blouse was white & billowy and, as I was soon to discover, her pants were ultra-tight and contour hugging."Mr. Nyilas," she greeted me. "I would like a moment of your time," she relayed what I already knew. She was more than a tad nervous to boot."Vice President Varma," I started off."When in private you may call me Rhada," she interrupted."Rhada, you look more ravishing than ever."That got up her and coming around her desk, which revealed her ultra-tight pants with no sign of her wearing underwear. Yikes! My cock was preparing to do what a cock was meant to do and I just didn't have the time, Really!"Do you have any time?" she let her bosom heave."Not today, ugh," I groaned. See, Rhada took the stylus and dragged it down her chin, throat and in between her bountiful mounds.All of which exposed the top of her black bra."Are you sure, Master?" she enticed me by turning around and then leaning over her desk, point that ass in my direction. My mouth began salivating and my groin ached. I found myself quick-stepping to her and giving those buttocks two firm slaps, one on each cheek."No, damn it, though I'm going to make you pay for this when I get back," I rumbled."Master will make me wait?" she taunted me."That will cost you even more," I growled. "I have business which simply won't wait and here is my captive teasing me with the treasures of her flesh. Bad, war captive," I spanked her yet again, hard. "Bad!" and I spanked her a fourth time. With each beating, Rhada gasped in pain and then exhaled in pleasure."If I've been bad, Master must be extra harsh with me when he returns in triumph from the Great Hunt," she gloated. Rhada had gotten what she wanted, which was another affirmation of my lust for her and our 'game'. I could provide her the release she so desperately craved while allowing her the safety of remaining in the Amazon fold. It was a perfect pairing, for her.I had other problems, such as all the other baby mamas in my life plus the extra-marital affairs I was contemplating. I still took the moments we had to snuggle with Rhada, her grinding that tush into my rod while I held both her arms tightly to her side while raining kisses down onto her neck and head."Sir! A giant tsunami is approaching the city!" Juanita exploded through the door."What?" I coughed. I had a face full of hair."Huh?" Rhada pushed up and away from me. I let her go."Right now," Juanita insisted. She really needed to stop taking me so seriously when I gave her such advice."Really?" from Rhada. She shot me a curious look so I shrugged. What else was I supposed to do with such a flimsy lie forcing our separation? At least I got out of there on time?{9:50 am, Monday, September 8th ~ Last day}(JKIT HQ)"Is this a common occurrence?" Sister Rafaela Sophia whispered to the closest woman, who happened to be Wiesława, the Polish Amazon. Since she hadn't arrived with us from Havenstone, the nun might have assumed she was with the 'Americans', or British."What?" Wiesława responded evenly."Weapons combat, they look real," the nun clarified."They are real. We always practice with real weapons.""Really?""Of course," Wiesława smiled at her. "We believe a few cuts and scrapes now will save lives when the true tests come.""Oh, you are with, Havenstone?" Rafaela clued in."Yes. I am Wiesława of House Živa. I am currently assigned to Unit L, Cáel's unit within JIKIT," she offered her hand to shake. Despite being a full-blooded Amazon from a freehold, her 'human' skills were progressing nicely. The nun shook it."I am Sister Rafaela Sophia of the Handmaids of the Sacred Heart of Jesus, that is a Roman Catholic Religious Order." Pause. "Do you hate Catholics too?""Yes. We have lived beside your people for many centuries and found your clergy to be much more dangerous than your pagan predecessors. Still, Cáel thinks you can be relied on and he's proven we can trust outsider women, which I was raised to believe was unlikely, and outsider men, which was basically anathema, so I'm willing to set aside my prejudices and judge you as an individual," the Pole imparted."Outsider men?" Rafaela mumbled."Well, yes," Wiesława smirked. "You are a nun, right?""Yes.""So you set aside the World of Men to live mostly among women, right?""Not entirely," the nun chose her words carefully. "We still rely on priests for religious rights and of course obey the life teachings of Christ and follow the leadership of his Holiness, the Pope, a man.""No one is perfect," the Amazon bantered back."Do you know the teachings of our Lord, Jesus Christ?" Rafaela ventured into dangerous waters."Yes. He was the semi-historical Son of your supposed One True God. We are not monotheists. We are Polytheists. Živa is my House's matron Goddess. It is also the name of the first woman to lead the House, her birth name surrendered to Destiny so all the daughters who came afterwards would be equals.""Oh, is Mr. Nyilas also pagan?" she inquired."I am unsure. From what I have been told, he has commended the spirit of his fallen father to your Jesus in a sacred ceremony then, in the presence of your Trinity and the Goddess Ishara, brought in new members to his House. I suspect he may be both," Wiesława reasoned. "Why don't you ask him?""Because he's fighting for his life?" Rafaela looked my way.See, the entire time their discussion had been going on, I had been sparring in a spare room at JIKIT HQ with Estere Abed, the Hashashin assassin (rather redundant ~ like saying the Sahara Desert). I had two tomahawks while she had a scimitar and curved dagger. While we sparred using the furniture as obstacles, Agent-86 was briefing me on various World events to get my input.Addison Stuart (CIA) and Lady Fathom Worthington-Burke (MI-6) were having a chat with Bishop Nicolé de Santis, verifying for themselves he was worth adding to the team. Juanita was having a similar discussion with Rikki Martin (US State Department) concerning my earlier encounter with the Papal team. Nicolé's buddy, Wachtmeister Mathias Bosshart of the Swiss Guard, was getting acquainted with the other security personnel.In comparison, those two had it easy. Both men were in their elements. Nicolé was a spook who pretended to be a diplomat for the Pope and was well acquainted with terms like 'deniable assets', 'plausible deniability' and your direct superior referring to requests concerning your identity/diplomatic status by saying 'I never heard of him and if I had, I have no idea what he was doing when you caught him doing what I don't know what he was doing', or something like that.Mathias was in the company of military-security specialists, brother professionals who were introducing him to his 'sister' professionals. Our Homeland Security gang were almost entirely former military by now. They got along with our JSOC folks and both had gained a limited acceptance with the Amazon security contingent.They bonded over the fact they were forced to work with really shady characters ~ the 9 Clans menagerie ~ who didn't always appreciate JIKIT operational security. Without going into particulars, the Wachtmeister was given the impression the abnormal was the norm and if you didn't think there was a 'down-side' to being able to carry your personally favorite bang-bang (the SG 552-2P Commando in his case) with some serious attachments (read: grenade launcher) around in downtown Manhattan, you probably didn't belong on this team.Back in the room,"He's not fighting for his life," Estere laughed. "He is fighting for mine.""Right," I responded sarcastically. We went through a flurry of exchanges, ending up with me kicking a chair at her. Estere stepped over it, colliding with me.I blocked her dagger, disarmed her scimitar and,"You are dead," she panted down at me, smiling. I was on my back, her straddling me. She had a belt-knife to my throat. I hadn't see her draw it. The scimitar 'disarm' had been a distraction."Woot!" I exhaled."But you're dead," Sister Rafaela misunderstood my good humor."He survived a minute and thirty-four seconds more today than his previous record," Estere responded. She slithered off of me, doing my arousal no good whatsoever, then offered me a hand up."And that's better?""He's a rank amateur with a few months on the job. I've been training to kill people for nearly two decades," Estere smiled. "Care to have a go?""With him, or you?""Either," Estere offered."I don't have a knife, or any hand weapons," she stated."We'll need to remedy that," Wiesława stated. "You should at least carry a knife.""Really? Why?""It is a nearly universal tool," I verbally stepped up. "Even if you are disarmed, you should be able to find one relatively easily, people are less likely to miss a stolen knife than a purloined gun, and a concealed blade could come in handy.""Do you train in knife-work?" Rafaela eye-balled me."Absolutely. It is part of my culture," I grinned."Okay. Can we spar, hand-to-hand?""Sure," I nodded. I put my tomahawks in their harnesses then put my harnesses aside. Estere gave me a wink before giving us the fighting space."So," Rafaela began to circle, "are you Christian?""By your definition, or mine?""By the definition of the Catholic Church."Oh cool, she went for a Savate stance. This was going to get ugly.My "no," was followed by her kick and my block, lunge and grapple. She wasn't nearly as good as Felix. I had her down and in a choke hold within fifteen seconds.Perhaps she thought I'd take it easy on her. She tapped out. I released her, retreated and flowed back to my boxing stance. It took her a moment to realize this was 'practice', not 'an interview'. She hadn't failed in anyone's eyes. We were both doing this to get better."See, I really, truly believe I have talked to supernatural entities ~ some who are considered divinities," I continued. This time she was more careful, trading jabs and blocks with me. "They don't claim to be the One True God. I believe in such a thing, but I also believe having been given the Message, Humanity has been left to muddle things out for ourselves."Whoops, she popped me one."The Woman-Thing this morning?""Yep," I evaded another flurry. She got cocky and I landed three blows, dropping her to the ground. I didn't help her up. Instead, I withdrew and let her get back up on her own before deciding if she wanted to continue. She did."I believe I've seen dragons and ghosts. I have felt legions of my ancestors give me quiet encouragement when I needed it. I know the dead have been brought back to life," I came at her. This time we both went for body blows, knees, elbows and fists. She was not SD-caliber and she needed to be. I grappled and she was forced to tap out again. After she regained her feet, she held up a hand for a pause."Do you believe any of that?" she addressed Estere."I am an adherent of Ismaili Islam yet nothing Cáel has encountered is contrary to my belief system. The Universe is a complex place and the Divine Light is often seen through a fractured lenses," she counseled the nun."Among the escapees were lawyer Francisco Luemba, Catholic Priest Raul Tati, economist Belchior Lanso Tati and former policeman Benjamin Fuca who are serving jail sentences of between three and six years each for supposed links to the rebel group FLEC (Frente para a Libertaé'o do Enclave de Cabinda), which carried out the attack on the Togolese football team at the start of the Africa Cup of Nations in January, 2010," Agent-86 read off yet another bit of global minutia."We need to get to them," I half turned. Sister Rafaela punched me in the gut and I folded up."Oh!" she gasped. "I'm sorry.""Okay," I mumbled. I had to keep with the plan. "Those men. We need to contact our Coils people in Kinshasa and the Warden of the Mountain Ways ('she' was the Amazon Host's leader of Africa ~ in the ancient times, the mountain ways had been the routes of southern vulnerability for the Amazon tribe thus the name).""Okay," both Agent-86 and Estere answered."Why?" 86 added."The Coils and the Host have had a serious problem with no nation in Africa giving them even back room recognition so we are going to take over our own country, Cabinda. It's been struggling to be free of Angola since 1975 and, by latest estimates, we've got strike elements of over 2,000 Amazons ready and waiting next door in Cameroon, Gabon and the Republic of Congo.""So you are going to go to war with Angola?" Estere frowned. "Don't we have enough enemies?""Au contraire," I grinned wickedly. "The resistance movement is genuine," I ticked off my points, "they have tons of offshore oil, and after we set off some spectacular explosions in the two main Angolan ports which are just down the coast, we allow global panic to bully the UN into intervening before the Angolan military launch an effective counter-offensive ~ considering the Angolan Armed Forces (I'd been reading up on a ton of CIA & MI-6 briefings) will most likely involve attrition warfare since they can't beat us in a stand-up fight.""They, the Angolans, have no overland access, they are separated by 60 kilometers of territory belonging to the Democratic Republic of Congo over some sad ass roads Plus the Congo River itself which is freaking huge by the time it gets that close to the Atlantic, Cabinda rests on the Atlantic Ocean by the way. No bridges. The Angolan Navy is anemic. Let me think."I began pacing."Hmm, they have no paratroopers though they have some Special Forces, we will need to hit as many of them in the barracks as we can. Their last invasion was from the north, overland, from the Republic of the Congo, in 1975, not likely to happen this time, though I may have my 'Brother' weasel up a battalion of Indian paratroopers to act as convincing peacekeepers after the initial take over.""Perhaps we can recruit some Vietnamese. I'm sure they'll love fighting in someone else's jungle for a change. We'll need some of 'our' guys to seize the port of Soyo, it is on the wrong side of the river, but has the major refinery the Cabindans will need. Since the entire surrounding province are the same ethnic make-up as the Cabindans, we'll have to take that too.""Man-o-man, I bet by the time this is over they'll really wish they'd given little Cabinda independence back in 1975. As for their other refinery, it is in their capital, Luanda, a few big explosions there too will get the markets jittery. Check that ~ the complete and utter destruction of their major petroleum facility will create a stampede for Peace," I continued. I walked over as our resident computer intelligence genius worked his magic."Blowing things up, you mean killing people," the nun blanched."Yes. This is what I do," I spared her a sympathetic glance. "I've got a madman roaming around in my head who provides me truly epic military advice which normally, but not always, means blowing shit up and killing folks. Welcome to the team," then as the data appeared, "Holy Shit! Did they build their oil refinery in the midst of their ghetto?" I was staggered. The refinery in Soyo was isolated from the town so it could be easily (and safely) seized. It was the one in Luanda which was the 'Holy Shit' site."It looks that way," Agent-86 agreed nonplussed. "Hmm, yeah, here is the port facility then your neighborhood of shoddily constructed one- and two-story dwellings between the refinery and the inland storage tanks, the perimeter barrier appears to be a chain link fence. I'd hate to be their Chief of Security.""Oh yeah," I choked. Estere slipped around to get a look."Whoops," she snorted."What are these people thinking?" I continued. "The whole shebang is exposed to the northern quarter of the city. The storage tanks have residential dwellings on all four sides with numerous side streets. Two teams with RPGs and four rounds apiece, Holy Crap. Sorry Sister.""But I want to save lives," she sputtered."Limiting the collateral damage could be pretty tough," Estere frowned. She toggled throw a series of maps to multiple pictures."Oh, look (dripping sarcasm); they light up the refinery at night. You can sit off the coast in a speed boat under cover of darkness and attack from there," she noted."Damn. Those are a lot of lights," Agent-86 agreed."24-7 operation," I suspected."We will need some experts," the government agent nodded."Or we are going to kill a fuck-load of innocent people. Not just the workers, but can you imagine a fire spreading to those neighborhoods? Shit," I muttered."You can't seriously be contemplating doing something like this," the nun sputtered. "It is inhumane. Think of the families, the children.""Lady, yes I am. Do you have any idea what the Human Rights record of the Angolan Army in Cabinda is? It is truly horrific and in case you missed it, one of the guys in dire need of rescuing by me, due to him being a huge rebel leader who has managed to escape, is also a Catholic priest. He's going to be part of the new government we are going to install once we kill a few hundred Angolans ~ mostly soldiers (more like well over a thousand).""We are going to kill a few hundred so a few hundred thousand can live free, democratic lives without worrying about the local police and political establishment torturing and murdering them. It is all part of the plan.""I think I need to talk with the Bishop.""Hang on. Let me finish," I forestalled her. "He'll get briefed along with everyone else. After all, it is a majority Roman Catholic country as is Angola, so I'm sure your guy can be of immense help.""The people you are putting at risk don't deserve this," she protested."They never do," I nodded in agreement with her. "It rarely stops terrible crap from happening to them though."I felt sorry for the Sister. She thought the Bishop was going to put a stop to this. Poor girl; he was going to do the exact opposite. See, the two competing forces at play here were a communistic kleptocracy (currently ruling Angola) and Catholic liberation theology united with a Cabindan national identity dating back to 1885. At stake was 900,000 barrels a day of petroleum. That was a bunch of funding for somebody. Last I checked, the state run energy conglomerate had misplaced $32 billion, in just three years.Mind you, the Coils of the Serpent and the Amazon Host didn't want to help the People of Cabinda out of the goodness of their hearts either. They wanted cover for the importation of weapons and other war-fighting material so they could kill the Condottieri in Africa. If the rebel leaders-turned-legitimate government didn't play ball well, the Coils were in the 'assassinating people' business and somewhere along the line the survivors would figure out keeping 'us' happy kept them alive. Problem solved.It was Bishop Nicolé de Santis' job to facilitate that understanding. If certain people with Vatican credentials explained the 'facts of life' to the new regime a lot more lives could be saved, Catholic lives. In turn, he could work to make sure the new group in power wasn't nearly as corrupt as the gang we were tossing out. Better education and quality of life, improved infrastructure & security and a nice shiny cathedral, or two.We, as in JIKIT and our component members, didn't want to rule the country and dominate the people's lives. We needed the ports and the airfields with a blind eye turned to our skullduggery. Sure, there would be future considerations. Amazons and Coil members would be fighting and dying for these people's freedom ~ public recognition definitely not required. No; the Amazons wanted to be left alone in their deep jungle homes which was an isolation they basically already had. This was a future chit which said 'don't come looking'.The Coils? Let's just say in the future Cabinda would have embassies around the globe and if occasionally they wanted someone to slip through under diplomatic cover ~ they were good for it. And if the Cabindans ever needed help in the future they knew they had friends in dark places who were now invested in Cabinda's survival. It was a win-win-win, unless you were an Angolan big-wig, or one of their foot-soldier currently serving in Cabinda. Amazons weren't big on taking prisoners, or even giving the opposition the option of giving up.For me, it wasn't lunch yet and here I was plotting to overthrow yet another government in yet another country ~ though in only two, small provinces this time. Thank the Goddess I had the rest of the week

In this episode, we have an amazing conversation with author, filmmaker, philanthropist, and mental health advocate, Rebecca Schaper. Her new book, Roses to Rainbow – My Dog Gus in the Aferlife (Available April 8, 2025), is a moving story that includes transcripts of psychic sessions Rebecca had with an animal communicator after the sudden, unexpected passing of her dog – Gus.    Bio:  Rebecca Schaper is an author, filmmaker, philanthropist, and mental health advocate. Her new book, Roses to Rainbow – My Dog Gus in the Aferlife, is a moving story that includes transcripts of psychic sessions Rebecca had with an animal communicator after the sudden, unexpected passing of her dog – Gus. The book also includes Rebecca's notes from her daily journal as she responds to both earthly and spiritual guidance from Gus. She also co-produced and directed the award-winning documentary A Sister's Call. The film chronicles her mission to bring her brother Call Richmond Jr. back from the depths of homelessness and schizophrenia, all while seeking ways to heal herself and her family from the past. Her memoir The Light in His Soul: Lessons from My Brother's Schizophrenia recounts the events in the film, supplemented by her intimate personal reflections on recovering from trauma and developing spiritual insight.   Pre-order or buy her books here => Rebecca Schaper – Author (Amazon) Rebecca's Website  Social Media: Facebook Page X GoodReads --------------------------------------------------------------- Disclaimer: The views and opinions shared by The Animal Files Podcast hosts are based on their experiences and education. The views shared by TAF's guests do not necessarily reflect that of the hosts. We always recommend that our listeners consult animal industry professionals when necessary and are not responsible for any losses, damages, or liabilities that may arise from the use of the information in this podcast.   Be sure to follow The Animal Files online and on Facebook! www.theanimalfilespodcast.com www.facebook.com/theanimalfilesofficial Instagram => @theanimalfileofficial YouTube: @theanimalfilespodcast X => @theanimalfiles   Have a topic you would like us to tackle? Join our Facebook Community for references, conversations, and resources. www.facebook.com/groups/tafcommunity or you can Email us at: theanimalfilespodcast@gmail.com   Want to support the show? => Become a Patron: www.patreon.com/theanimalfilesofficial Or grab some Merch: http://www.teepublic.com/user/positivitees/albums/129886-the-animal-files-podcast-and-radio-show   Don't forget to Rate, Review, Follow, and Subscribe on all of your favorite podcasting platforms!    

In this episode of the Other Side Lifestyle Podcast, hosts Jim and Aram engage in a lively conversation with artist Daren Thomas Magee. They discuss the concept of anti-marketing, the importance of breaking free from societal norms, and the impact of geography on personal growth. The conversation takes a turn towards conspiracy theories, particularly regarding aliens, and the nature of misinformation in today's world. They also touch on lifestyle choices, mental health, and the challenges of living in a comfortable yet stagnant existence. In this conversation, the speakers explore themes of happiness, personal responsibility, and the impact of environment on quality of life. They discuss the allure of materialism and the emptiness that often accompanies it, emphasizing the importance of finding peace within oneself. The conversation also touches on the significance of presence, the observer's perspective on thoughts, and the transformative experiences brought about by psychedelics. Additionally, they reflect on the challenges and joys of creating content in the digital age, advocating for authenticity over perfection. In this conversation, the speakers explore the transient nature of content creation, emphasizing the importance of pursuing passion over financial security. They discuss the impact of social media on self-perception and the journey of an artist transitioning from illustrator to creator. The conversation also touches on the challenges of navigating the business side of art and the role of psychedelics in personal growth and mental health. Follow Darren on IG: @realfunwow Visit his website and Buy Stuff:  www.realfunwow.com Listen to his Podcasts: Mystical/Cynical and My Brother's Brother If you are a coach, sign up now for The Real Coaches Summit 2025 in Las Vegas this April, organized by yours truly - Aram Grigorian.  The speaker lineup is insane, and don't forget macro friendly breakfast, lunch, and dinner is provided, as well as a top shelf open bar happy hour each evening to network and meet the speakers.  No VIP - we are all equals at this event!     You can find us on Instagram: Aram: @4weeks2thebeach Jim: @jimmynutrition   Grab some Serenity Gummies: CuredNutrition.com Code: OSL for 20% OFF Get some t-shirts/tanks/hoodies at:   https://www.othersidelifestyle.com/shop If you'd like to reach out to Aram, you can find him at:  https://www.4weeks2thebeach.com/work-with-me If you'd like to reach out to Jim, you can find him at:  https://www.othersidelifestyle.com/schedule Go get some supplements: www.legionathletics.com, use code: ARAM

A couple becomes trapped in a cabin during a blizzard while a murderer is on the loose. Bloodstains in the kitchen allow the cabin owner to dominate them with fear! Hear the “Fear” with CBS Radio Mystery Theater!CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Show Open00:02:00.000 = CBS Radio Mystery Theater, “Fear” (November 19, 1975) ***WD00:46:58.059 = Suspense, “Diary of Sophronia Winters” (April 27, 1943)01:15:35.729 = Tales of the Frightened, “Story of Wood” (December 18, 1957)01:20:06.889 = Tales From The Tomb, “The Raven” (ADU)01:29:44.319 = Theater Five, “My Brother's Keeper” (September 15, 1964) ***WD01:49:29.489 = Theater 1030, “Trespassers Will Be Experimented Upon” (1968-1971) ***WD02:20:17.779 = 2000 Plus, “Rocket And Skull” (October 10, 1951) ***WD02:48:38.879 = The Unexpected, “Passport To Danger” (March 07, 1948) ***WD03:01:26.639 = Unit 99, “Accident at 12th and E” (December 27, 1957)03:24:56.679 = Unsolved Mysteries, “Lizzie Borden Case” (1936) ***WD03:38:57.879 = The Weird Circle, “Spectre of Tappington” (October 22, 1944) ***WD04:06:31.479 = The Whistler, “Death Has a Thirst” (May 08, 1943)04:36:08.729 = Strange Wills, “Portsmouth Square” (December 07, 1946)05:05:44.969 = Show Close(ADU) = Air Date Unknown(LQ) = Low Quality***WD = Remastered, edited, or cleaned up by Weird Darkness to make the episode listenable. Audio may not be pristine, but it will be better than the original file which may have been unusable or more difficult to hear without editing.Weird Darkness theme by Alibi Music Library= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2025, Weird Darkness.= = = = =CUSTOM WEBPAGE: https://weirddarkness.com/WDRR0357

In this bonus content edition of Depresh Mode, We're joined by some Maximum Fun all-stars for some very light-hearted and delightfully competitive games that are as informative as they are silly. Our competitors:Justin McElroy of My Brother, My Brother, and Me, Adventure Zone, and SawbonesHal Lublin of Tights & Fights and We Got ThisLaura Swisher, senior producer overseeing about a million Max Fun podcastsWho will win the game Antidepressant, Pokemon, or State Fair Food? Who will emerge victorious in Google Scholar or Member of Parliament/Funkadelic? Can our panel tell the difference between an emo band lyric, a quote from The Simpsons' Moe, or a line heard on Depresh Mode? Tune in and find out! MaxFunDrive ends on March 28, 2025! Support our show now and get access to bonus content by becoming a member at maximumfun.org/join.

This week on The Clip Out, we're serving up all the tea about what's buzzing in the Peloton universe!  Peloton adds a kettlebell filter: Finally! Searching for the perfect kettlebell class just got way easier. My Brother's Keeper takes over PSNY: Did they leave their mark? The rise of the menopause luxury market: A new trend or here to stay? Let's talk about it. Hannah Corbin writing a book: Is everyone's favorite instructor about to become an author?  Emma Lovewell hits SheKnows.com & SXSW: From interviews to live events, Emma's living her best life. Susie Chan featured in Runners World: Learn why she's an inspiration to so many. Jermaine Johnson's 60-minute strength milestone: Fans weigh in on his epic new format.  Sabrina Carpenter artist series: Get ready to jam! Plus, are we about to get more Lil Jon?  Top 5 listener-recommended classes: Tried, tested, and loved by the community. Anna Greenberg's new meditation program: Serenity incoming.  Christine D'Ercole's unofficial Sprint Interval Training class: Could this secretly be the next big training trend? Fresh spring apparel drop: Because who doesn't love new Peloton gear?  Peloton birthdays this week: Shoutouts to Sam Yo (3/12), Marcel Dinkins (3/17), Peloton itself (3/17, happy b-day!), and Jeffrey McEachern (3/18)! Plus, we're keeping tabs on all the must-try classes in our This Week at Peloton and TCO Radar segments. Whether you're on the bike, the tread, or the mat, we've got all your Peloton updates covered. Love the show? Subscribe, rate, review, and share! https://www.theclipout.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Takeaways:Experiences are often your best teachers.Transitioning out of foster care can be devastating.Advocacy is propelled by shared stories.Community support is crucial for young people.Technology (AI) can streamline child welfare processes.Access to basic documents is essential for independence.Young people in foster care often lack normal experiences.Resilience is built through overcoming challenges.Affirmations can help combat imposter syndrome.Everyone can contribute to supporting youth in foster care.About Amnoni:Amnoni L. Myers, MPA, is a serial entrepreneur, best-selling author, child welfare advocate, public speaker, and consultant. She is the founder of You Are The Prize, a professional speaking and consulting firm, and the visionary behind Launch Ahead, an innovative startup dedicated to supporting youth in foster care as they transition into adulthood.A Boston, Massachusetts native, Amnoni now resides in Tulsa, Oklahoma through the Tulsa Remote program, relocating from California in 2021. She holds a Master's in Public Administration from the National Urban Fellows Program in Manhattan, New York. As part of this prestigious fellowship, she was placed at The California Endowment in Oakland, where she worked on the My Brother's Keeper Initiative to advance opportunities for young boys and men of color.As a consultant, Amnoni brings a unique and deeply personal perspective to child welfare reform. Having aged out of the foster care system herself, she later returned as a professional, leading policy and advocacy efforts to reimagine a more equitable system. She previously worked with the U.S. Children's Bureau as a child welfare policy consultant and held internships at both Capitol Hill and the White House Domestic Policy Council, where she drafted impactful policy recommendations aimed at improving the child welfare system.Amnoni is a graduate of Gordon College, where she double-majored in Social Work and Sociology and completed a Social Work and Peace and Conflict Studies Practicum in San Francisco. She has also studied Race, Class, and Gender in South Africa, further deepening her commitment to justice and systemic change.She is the author of the best-selling book, "You Are The Prize: Seeing Yourself Beyond the Imperfections of Your Trauma," and has delivered powerful keynote addresses at major events and institutions nationwide, inspiring countless individuals through her story of resilience and empowerment. Recently, she was selected as a finalist for the 2025 SXSW Pitch, a testament to her innovation and dedication to social impact. Her dedication to advocacy and entrepreneurship has earned her numerous awards, including:● The Re-Envisioning Foster Care Champion Award● The National Urban Fellows Ron Gonzalez Memorial Fund Leadership Award● The Philip J. Award● The Marlene Matreese Rockstar of the Year Award● Tulsa Remote's Most Outstanding Member of the Year Award● TEDC's Mortar Entrepreneurial Spirit Award● Tulsa, Oklahoma's 2023 Game Changer AwardThrough her work, Amnoni remains committed to empowering communities, increasing access to opportunity, and reshaping systems that have historically marginalized vulnerable populations. Whether through her consulting, speaking engagements, or entrepreneurial ventures, she is a driving force for systemic change and social impact.Donate to Amnoni's GoFundMe to get to SXSW. The cost of travel, lodging, food has increased tremendously, and every dollar counts!Follow Amnoni on Social Media:InstagramLinkedin EPISODE CREDITS:Produced and edited by Ashley Coffey. Cover art designed by Ashley Coffey.Headshot by Brandlink MediaIntroduction music composed and produced by Ashley Coffey LINKSFollow Coffey & Code on Instagram, Facebook, Linkedin, and YouTube for the latest emerging tech updates! Subscribe to the Coffey & Code Podcast wherever you get your podcasts to be notified when new episodes go live. © 2025 Coffey & Code Podcast. All rights reserved. The content of this podcast, including but not limited to text, graphics, audio, and images, is the property of Ashley Coffey and may not be reproduced, redistributed, or used in any manner without the express written consent of the owner.

Comedian and author Michelle Brasier transformed the heartbreak of losing her brother and father to cancer into a bold and unflinching brand of comedy. After discovering she has a 97% chance of carrying the same deadly gene, Michelle's life took a new direction. Her book, My Brother's Ashes are in a Sandwich Bag, powerfully captures how she uses humour as a tool to confront and navigate grief. In this chat with Antoinette Lattouf, Michelle shares how she mistakenly slapped a priest and why she’s now using her story to advocate for families who are unfairly punished by insurance companies just for carrying a deadly gene. Grab tickets to Michelle's current tour here Weekend list with Jess Lukjanow and the listeners TO WATCH: Toxic Town on Netflix TO DO: Pilates retreats TO WATCH: High Potential on Disney+ TO WATCH: Oscar winning documentary No Other Land on Doc Play Follow The Briefing: TikTok: @listnrnewsroom Instagram: @listnrnewsroom @thebriefingpodcast YouTube: @LiSTNRnewsroom Facebook: @LiSTNR NewsroomSee omnystudio.com/listener for privacy information.

Episode 54 - Murdock and Marvel: 2001 Part 2 The year 2001 has a dark shadow over it, and there are elements of this year that are pretty rough, because as the year closed comic books were trying to make sense of and deal with 9/11 just like the rest of America.  But the start of the year brought a lot of great entertainment and for the first time in years sales held steady (mostly)   This is part 2 of the podcast. that will feature the year in Daredevil, the Spotlight story and the Takeaway for 2001.   The Year in Daredevil  Appearances:  Daredevil #14-26, Daredevil / Spider-Man #1-4, Daredevil: Yellow #1-5, Daredevil: Ninja #2-3, Marvel Knights #7-9 and #11-15, Black Widow #2-3, Spider-Man and Mysterio #1-3, X-Men #109, Big Town #4, Deadpool #52, Black Panther #31, Elektra #1, Ultimate Marvel Team-Up #7-8, 100 Greatest Marvels of All Time #1 and 4, Marvel Masterworks: Daredevil #2 and Marvel Masterworks: The Mighty Thor #3.  Writing: David Mack (#14-15), Brian Michael Bendis (#16-19 and #26) Bob Gale (#20-25)  Pencils: Joe Quesada and David Ross (#14), Ross (#15 and #23-25), David Mack (#16-19), Phil Winslade (#20-22), Alex Maleev (#26)  Inks: Mark Morales (#14-15) David Mack and Morales (#15) Mack and Pond Scum (#17) Mack (#18-19), James Hodgkins (#20-22), Hodgkins and Mark Pennington (#23), Pennington (#24-25), Alex Maleev (#26)  After the wrap-up of the Parts of a hole storyline that included a trail of Kingpin before he's eventually blinded by Maya Lopez aka Echo, we get our first story from Brian Michael Bendis with David Mack moving over to art. The 4-book story, Titled Wake Up, is a fantastically told and beautifully brought to page by the creative team. It doesn't really have any action and is really only loosely about Daredevil. Interesting, right? This is, without a doubt, worth spotlighting this week – so we'll talk more about it then.  The other main story we get this year is called Playing to the Camera in which Daredevil is sued by rich philanthropist Samuel Griggs and wants to retain Nelson and Murdock (specifically Matt Murdock) as his lawyer. Matt reluctantly agrees as he knows he wasn't involved with destroying the man's greenhouse and plants and wants to figure out who's behind it. As Daredevil, he hires a lawyer and they have their days in court surrounded by a media circus.   The trial ends with 3 daredevils in the courtroom - Murdock as himself holding a video tape of himself as Daredevil earlier that morning, Peter Parker in a Daredevil costume with the defense attorney and a third Daredevil who crashes a window, admits to the property damage, offers the $50k needed to fix it and then reveals his true identity as Terrance Hillman. Confused? So is Murdock and Nelson. Apparently, Hillman decided on his own to dress up as Daredevil and crash the courtroom. He then used the reveal and announced retirement to swing fame and fortune (and help out the real Daredevil). We also learn that Hillman didn't destroy the property either and that the Ringmaster was behind everything. He was testing his ability to implant false memories in people.   One interesting side note about the first issue of the Playing with Camera storyline. A second story appears in the issue “My Brother's Keeper” written by Stan Lee and Kevin Hall with art by Gene Colan. In the short story, we see Daredevil and Spider-Man during a night out.  We did get one more book in December from Brian Michael Bendis but we'll save that for next year's discussion.  Finally In Daredevil: Yellow we get a 6-book story in which Matt is writing letters to the late Karen Page about the early days of Daredevil and the Nelson and Murdock law firm as a way to find forgiveness for everything that happened between them. The story, by Jeph Loeb, artist Tim Sale and colors by Matt Hollingsworth, is another retailing of the first handful of issues from Daredevil volume 1 that ends with the Purple Man story and Matt finding the forgiveness he needs.    This Week's Spotlight: Daredevil volume 2 #16 May 2001 - #19 August 2001 “Wake Up” Recap Why We Picked This Story Daredevil Rapid Fire Questions The Takeaway Writers are the key. Questions or comments We'd love to hear from you!  Email us at questions@comicsovertime.com or find us on Twitter @comicsoftime. ------------------ THANKS TO THE FOLLOWING CREATORS AND RESOURCES  Music: Our theme music is by the very talented Lesfm.  You can find more about them and their music at https://pixabay.com/users/lesfm-22579021/.  The Grand Comics Database: Dan uses custom queries against a downloadable copy of the GCD to construct his publisher, title and creator charts.  Comichron: Our source for comic book sales data.  Marvel Year By Year: A Visual History  DC Comics Year By Year: A Visual Chronicle  https://en.wikipedia.org/wiki/List_of_films_based_on_English-language_comics  https://en.wikipedia.org/wiki/List_of_Marvel_Comics_superhero_debuts  https://comicbookreadingorders.com/marvel/event-timeline/  https://www.comic-con.org/awards/eisner-awards/past-recipients/past-recipients-1990s/ 

On this episode of Bulture podcast:-Gary Antuanne Russell Dominates Jose Valenzuela by Decision to Win First World Championship Gervonta Davis vs. Lamont Roach just ended in a majority draw-Meek Mill explains why he doesn't wear suits to speaking engagements: “So they can see me as a black man from the streets”-Nipsey Hussle's brother, Blacc Sam, kicks Rocstar2800 out the “Marathon Burger” grand opening on Melrose Ave-Wack 100 goes off on Rocstar2800 for mentioning his name during his altercation with Blacc Sam-13-year-old refuses to give up his birthday money to his mom so she can pay the bills-McDonald's is now accepting EBT in select locations, coming soon to all locations-A McDonald's in Brooklyn, NY is carding customers at the door to slow down crime, those under 20 need a parent present-Lil Baby's attorney, Drew Findling, has issued a strong response after the Atlanta Police Department suggested the rapper might be connected to a double homicide near his recent video shoot-Couple forced to sit next to a dead body for 4 hours after woman dies mid-flight-Woman gets emotional after being hired by Walmart despite her face tattoos-Jimmy Butler is being sued for failing to pay nearly $400,000 in rent and leaving the property damaged in Miami-Police officer Ralph Woolfolk, who is investigating Lil Baby, is a former Nickelodeon child star from the popular '90s show 'My Brother and Me.'-Viral rapper Dank Demoss recently teased some clips from her OnlyFans page-Thousands possibly exposed to measles in Texas as outbreak grows. At least 146 people have been infected since late January, one child has died- FedEx cargo plane was forced to make an emergency landing in New Jersey after catching fire mid-air-NFL Star Stefon Diggs is SUING model Mulan Hernandez, accusing her of extortion and assault. Diggs claims she physically attacked him, smashed his $130K watch, and there his phone in the toilet, Diggs is seeking monetary relief of over $250k-Mulan Hernandez claims Stefon Diggs assaulted her in June of 2024 resulting in a concussion and he's filed a lawsuit accusing her of extortion to get ahead of it-22 y/o Damien McDaniel charged with 14 murders over 14 months, allegedly responsible for 8.6% of all violent deaths in Birmingham last year-The 49ers are trading WR Deebo Samuel to the Commanders in exchange for a 2025 5th-round pick-Detroit gifts a homeless mother of five a home for life after she tragically lost two of her children to freezing temperatures in a parking lot-Burna Boy responds to woman who claims he promised her a Lambo after sleeping with her-Jim Jones challenges Cam'ron to a $10 million boxing match amid their ongoing feud: “I'll box ya head off”- Turkey Leg Hut's former owner, who once had 175 employees and now has 13, warns staff they'll be fired for using phones during shifts

Today's show features a conversation with Charles Burnett, who Martin Scorsese and Steven Soderbergh credit as one of America's greatest filmmakers.  His creative works tell personal and intimate stories – exploration of culture, relationships, social justice, mental illness, discrimination, and love. He was born in Mississippi in 1944 but moved to Watts in South Los Angeles in 1947. Killer of Sheep, based on his life in Watts,  was his student thesis film at UCLA but it wasn't until he was awarded an honorary Academy Award in 2017 that it began to be seen. It was his first full-length feature and took five years to complete, and it set him apart, even at a young age, as a great filmmaker. The '60s were not necessarily kind to Black filmmakers and complicated music rights kept Killer of Sheep away from wide distribution until Steven Soderberg took it under his wing and helped restore it. He also cleared the music rights and found distribution.  It has since been admitted into the Library of Congress and called a national treasure. Other films from Charles include “The Annihilation of Fish” with James Earl Jones and Lynn Redgrave; My Brother's Wedding, The Glass Shield, and To Sleep With Anger starring Danny Glover. Martin Scorcese was quoted in a review by Daniel Borrero, saying, “Charles Burnett is one of the finest filmmakers in this country. His pictures speak in a unique voice that is uniquely and completely his own.  I am honored to be speaking with Charles Burnett and am grateful for his candor about the industry and his gracious depiction of unfolding events in his life. We can all learn from him. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. We are always up for new ideas! You can find OWC RADiO at OWCRadio.com, on Spotify, Apple Podcasts and all other podcatchers! ABOUT OWC: Other World Computing, under the leadership of Larry O'Connor since he was 15 years old, has expanded to all corners of the world and works every day to create hardware and software that make the lives of creatives and business-oriented companies faster, more efficient and more stable.  Go to MacSales.com for more information and to discover an ecosystem that serves your needs. Cirina Catania, is a successful filmmaker, former Sr Vice President of Worldwide Marketing at MGM-UA and United Artists and one of the co-founders and former director of the Sundance Film Festival. She is the founder, CEO and Executive Director of the non-profit, High School Media Collective. Cirina is Founder/Lead Creative at the Catania Group Global, Showrunner and Host of OWC RADiO and partner, Lumberjack System, as well as Tech Ambassador for companies such as Blackmagic Design.  She is a long-time member of the Producers Guild, Writers Guild, Cinematographers Guild, the National Press Club, National Press Photographer's Association, and more.

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

Episode 128 - From Your Brain to the Box Office In this episode of the Faith and Family Filmmakers podcast, Jaclyn and Geoff continue their discussion with filmmaker Ricky Borba. In this second part of the interview, Ricky shares his experiences and insights on how aspiring filmmakers can bring their ideas from conception to the box office. He emphasizes the importance of having a solid script, creating an effective pitch package, understanding production, and ensuring financial viability. Ricky also discusses the valuable lessons he learned from his own filmmaking journey, the importance of collaboration, and the necessity of surrounding oneself with supportive people. Additionally, Ricky offers details about his masterclass and shares his passion for helping others achieve their filmmaking dreams guided by biblical principles.Highlights Include:Welcome and IntroductionPassion for Helping OthersMasterclass in FilmmakingChallenges and Realities in FilmmakingAdvice for Aspiring FilmmakersPursuing Excellence in FilmmakingThe Importance of Continuous LearningJaclyn's Nutrition StudySoft Skills and Time ManagementYou Can't Do it AllThe Necessity of TeamworkPractical Advice for Aspiring FilmmakersThe Body of Christ and Team DynamicsContact informationRicky Borba is a film director, from the San Francisco Bay Area. He has been involved with film and television, for the last 30 years. His two theatrically released films; "My Brothers' Crossing" and "Hope for the Holidays" have won multiple Best-Picture awards at festivals across the country, as well as acting awards for the cast. "My Brother's Crossing" spent two weeks in the US Box office top ten when it debuted in 2020.In 2023, he directed two films, Christmas at Keestone and Wedding at Keestone.Ricky now resides in Nashville, TN with his wife, 4 daughters and son. He has a double major in Pastoral Ministries and Theology, and all of his animals are named after Star Wars characters.Ricky's Website: www.rickyborbafilms.comRicky on IMDb: imdb.me/rickyborbaRicky on Facebook: facebook.com/borbafettFAFF Association Meeting Schedule: https://faffassociation.com/#faff-meetingsScreenwriters Retreat - Mexico: https://www.faffassociation.com/writers-retreatJaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorship The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the

Episode 127 - Trusting God Through Cinematic Setbacks In this episode of the Faith and Family Filmmakers Podcast, Jaclyn and Geoff interview Ricky Borba, a film director from the San Francisco Bay Area. Ricky shares his journey in the film industry, starting with his childhood fascination with Star Wars and moving through various challenges and achievements. He recounts pivotal moments, including a divine call to Tennessee, challenges he faced such as financial obstacles and deceitful investors, and miraculous moments that confirmed his calling to filmmaking.Highlights Include:Welcome and IntroductionRicky's Early InspirationFirst Steps into the Film IndustryPursuing Acting and DirectingBig Break and ChallengesHope for the Holidays: A Personal StorySubsequent Projects and Pandemic ImpactMoving to Tennessee: A Leap of FaithTrusting God: The BookProphetic Dreams and Miraculous ConfirmationConclusion and Next Episode TeaserRicky Borba is a film director, from the San Francisco Bay Area. He has been involved with film and television, for the last 30 years. His two theatrically released films; "My Brothers' Crossing" and "Hope for the Holidays" have won multiple Best-Picture awards at festivals across the country, as well as acting awards for the cast. "My Brother's Crossing" spent two weeks in the US Box office top ten when it debuted in 2020.In 2023, he directed two films, Christmas at Keestone and Wedding at Keestone.Ricky now resides in Nashville, TN with his wife, 4 daughters and son. He has a double major in Pastoral Ministries and Theology, and all of his animals are named after Star Wars characters.Ricky's Website: www.rickyborbafilms.comRicky on IMDb: imdb.me/rickyborbaRicky on Facebook: facebook.com/borbafettFAFF Association Meeting Schedule: https://faffassociation.com/#faff-meetingsScreenwriters Retreat - Mexico: https://www.faffassociation.com/writers-retreatJaclyn's Book - In the Beginning, Middle and End: A Screenwriter's Observations of LIfe, Character, and God: https://www.amazon.com/dp/B0D9R7XS9VVIP Producers Mentorship Program https://www.faffassociation.com/vip-producers-mentorship The Faith & Family Filmmakers podcast helps filmmakers who share a Christian worldview stay in touch, informed, and inspired. Releasing new episodes every week, we interview experts from varying fields of filmmaking; from screenwriters, actors, directors, and producers, to film scorers, talent agents, and distributors. It is produced and hosted by Geoffrey Whitt and Jaclyn Whitt , and is brought to you by the Faith & Family Filmmakers Association Support Faith & Family Filmmakers Our mission is to help filmmakers who share a Christian Worldview stay in touch, informed, and inspired. If you would like to assist with the costs of producing this podcast, you can help by leaving a...

In the summer of 1964, the FBI found the smoldering remains of the station wagon that James Chaney, Michael Schwerner, and Andrew Goodman had been driving before their disappearance. Shortly after this awful discovery, Julie Kabat's beloved brother Luke arrived as a volunteer for the Mississippi Summer Project. He was one of more than seven hundred volunteers from the North who assisted Black civil rights activists and clergy to challenge white supremacy in the nation's most segregated state. From his tale, author Julie Kabat has creatad a brillaint new memoir, Love Letter from Pig, My Brother's Story From Freedom Summer, an in-depth look at the life of a history maker, a change agent, and blazing star. The QWERTY podcast is brought to you by the book The Memoir Project: A Thoroughly Non-Standardized Text for Writing & Life. Read it, and begin your own journey to writing what you know. To learn more, join The Memoir Project free newsletter list and keep up to date on all our free webinars, instructive posts and online classes in how to write memoir, as well as our talented, available memoir editors and memoir coaches, podcast guests and more.

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

She is beloved worldwide for her crime writing. But what did she like to read? Resources and articles mentioned in this episode: — Jamie Bernthal on Arthur Conan Doyle — Moira Redmond on Elizabeth Daly — Martin Edwards on My Brother's Killer — Gray Robert Brown on Muriel Spark Books mentioned in this episode: — Agatha Christie An Autobiography by Agatha Christie — The Adventures of Sherlock Holmes by Arthur Conan Doyle — The Mysterious Affair at Styles by Agatha Christie — The Hound of the Baskervilles by Arthur Conan Doyle — The Sittaford Mystery by Agatha Christie — Whose Body? by Dorothy L. Sayers — Unnatural Death by Dorothy L. Sayers — The Unpleasantness at the Bellona Club by Dorothy L. Sayers — Mr Fortune, Please by H.C. Bailey — Murder on the Orient Express by Agatha Christie — Unexpected Night by Elizabeth Daly — The Missing Moneylender by W. Stanley Sykes — The Clocks by Elizabeth Daly — The Mystery of the Yellow Room by Gaston Leroux — My Brother's Killer by D.M. Devine — The Spy Who Came in from the Cold by John Le Carré — The Pale Horse by Agatha Christie — Endless Night by Agatha Christie — Stamboul Train by Graham Greene — The Prime of Miss Jean Brodie by Muriel Spark — The Driver's Seat by Muriel Spark — A Murder is Announced by Agatha Christie — The ABC Murders by Agatha Christie — The Heat of the Day by Elizabeth Bowen — Death of the Heart by Elizabeth Bowen — The House in Paris by Elizabeth Bowen Support the podcast by joining the Shedunnit Book Club and get extra Shedunnit episodes every month plus access to the monthly reading discussions and community: shedunnitbookclub.com/join. NB: Links to Blackwell's are affiliate links, meaning that the podcast receives a small commission when you purchase a book there (the price remains the same for you). Blackwell's is a UK bookselling chain that ships internationally at no extra charge. To be the first to know about future developments with the podcast, sign up for the newsletter at shedunnitshow.com/newsletter. The podcast is on Twitter, Facebook, and Instagram as @ShedunnitShow, and you can find it in all major podcast apps. Make sure you're subscribed so you don't miss the next episode. Click here to do that now in your app of choice. Find a full transcript of this episode at shedunnitshow.com/agathachristiestasteincrimefictiontranscript. Music by Audioblocks and Blue Dot Sessions. See shedunnitshow.com/musiccredits for more details. Learn more about your ad choices. Visit megaphone.fm/adchoices

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