Podcasts about peninsular

El soterramiento de Langreo, la ampliación del Hospital de Cabueñes, el proyecto para rehabilitar la ciudad de vacaciones de Perlora…¿cuáles están llamados a ser los grandes acontecimientos en Asturias en este 2025? Oyentes y opinantes completan la lista. Xulio Concepción, cronista oficial de Lena, arranca año con adivinanzas de antaño . Entramos en consulta con Nuria Riesco, neuróloga del HUCA especialista en cefaleas. Tono Permuy llega acompañado de Paula Fabra, una de las creadoras de la serie que arrasa, “Los Años Nuevos”. Han estado con nosotros también “la abu”, Josefina Martínez, y El Quijote. Vamos, que no ha faltado nuestra Quijotada. Y recorremos Asturias de faro en faro con Félix González, fotógrafo náutico autor del libro “70 faros imprescindibles de la España Peninsular”.

This is episode 201. The sounds you're hearing are those of roadworks, because South Africa is upgrading. Quickly. The arrival of governor sir George Grey in 1854 heralded a new epoch. Previous governors had been Peninsular war Veterans, they'd fought against Napoleon. This one was the first who was the child of a veteran of the war against Napoleon, and a person who was schooled in liberal humanism. He was also a Victorian, steeped in the consciousness of evolution, principled and simultaneously, flaunting truth. A fibber who was in a delirium of post-renaissance spirituality, combining dialect and salvation. You heard about George Grey's time in New Zealand last episode, and here he was, the new Cape Governor. So without further ado, let's dive into episode 201. He was free from prejudice against black and coloured people, and all indigenes as such, firmly believing from his own insight into the Polynesians cultures, the Maori, that there was nothing to distinguish them in aptitude and intelligence from anyone else in mankind. The same applied to Aborigines and black South Africans he believed. At the same time, Grey wanted indigenous people to wean themselves from what he called barbarism and heathenism. By suppressing tribal laws and customs, and incorporating indigenes into the economic system through labour and industry. During his short stint in Australia, he had set the Aborigines to work building roads, and those who worked hardest, earned the most. At the same time, he ruthlessly suppressed any sort of push back from the Aborigines, then the Maoris, and now he brought this brand of colonialism to South Africa. Dangling the carrot of labour, then applying the stick of punishment. The Cape colony was his laboratory in the Victorian age of discovery. An intellectual exercise. There was quite a bit in it for him of course. An ideologue and highly learned, he had written the New Zealand articles of Representative Government, an act that led to him being knighted. Sir George. Utopia beckons those who are imbued with internal fire — it's only now and then that history provides a crack into which people with this sort of vision can plunge. A man or woman appears at a particular point in time, restructuring entire territories and societies by dint of their character, and their timing, their epoch. During this time, a powerful figure with a vision for change could restructure an entire land before his minders back in England could do anything about it. Correspondence with the antipodes, New Zealand and Australia, took nearly a year for an exchange of letters to take place. Six months one way, six months return. In the meantime, an industrious social engineer could get very busy indeed. South Africa was closer to the centres of power, the new steam driven ships could do the return journey in four months, but that was more than a financial quarter in modern jargon. A person with initiative could launch quite a few initiatives before the folks back in London put a stop to their initiating. The biggest problem at this moment for Grey was not the amaXhosa or AmaZulu or Basotho, nor the Khoe, or the Boers. IT was the British colonial office. They were in the throes of recession not expansion. Retrenchment and withdrawal. Grey pondered the solution. Five thousand white European immigrants should be brought in he wrote, the occupy British Kaffraria. There was a certain problem, and that was the amaNqika Xhosa lived there at a pretty squashed density of 83 people per square mile. To give you an idea of how squashed this was, the Cape colony population density of 1854 was 1.15 per square mile at the same time. The second conundrum was accessing cash to construct all these new schools and public buildings. Grey sent a letter to the Colonial office outlining his needs — this new plan would require 45 000 pounds a year.

Nous sommes le 6 décembre 1901, à Marseille. Arrivé de son Ardenne natale, un jeune homme de vingt-six ans, le regard franc, la moustache avenante, Lambert Molitor, s'apprête à embarquer sur le bateau vapeur Himalaya II de la « Peninsular and Oriental Steam Navigation Cy ». Direction le golfe persique et la Perse. Lambert a encore le temps d'écrire quelques cartes postales et de distribuer ses derniers sous belges et français à des musiciens et à des acrobates de rues. Un mois plus tard, le 6 janvier 1902, notre intrépide ardennais arrive à Bouchir, l'un des ports les plus importants de la région. Officier de douanes, Lambert Molitor est l'un des deux cents belges choisis, au début du dix-neuvième siècle, pour travailler à la réorganisation du système douanier et de l'administration des Postes et des Finances persanes. L'aventure, qui l'amènera à lutter contre la contrebande, les affrontements armés, les tensions nationalistes et aussi contre les épidémies et la famine, va durer plus de vingt-cinq ans… Invité : Marc Molitor, journaliste. « De la Perse à l'Iran, l'aventure des Molitor » aux éditions Elytis. Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

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

This is episode 201. The sounds you're hearing are those of roadworks, because South Africa is upgrading. Quickly. The arrival of governor sir George Grey in 1854 heralded a new epoch. Previous governors had been Peninsular war Veterans, they'd fought against Napoleon. This one was the first who was the child of a veteran of the war against Napoleon, and a person who was schooled in liberal humanism. He was also a Victorian, steeped in the consciousness of evolution, principled and simultaneously, flaunting truth. A fibber who was in a delirium of post-renaissance spirituality, combining dialect and salvation. You heard about George Grey's time in New Zealand last episode, and here he was, the new Cape Governor. So without further ado, let's dive into episode 201. He was free from prejudice against black and coloured people, and all indigenes as such, firmly believing from his own insight into the Polynesians cultures, the Maori, that there was nothing to distinguish them in aptitude and intelligence from anyone else in mankind. The same applied to Aborigines and black South Africans he believed. At the same time, Grey wanted indigenous people to wean themselves from what he called barbarism and heathenism. By suppressing tribal laws and customs, and incorporating indigenes into the economic system through labour and industry. During his short stint in Australia, he had set the Aborigines to work building roads, and those who worked hardest, earned the most. At the same time, he ruthlessly suppressed any sort of push back from the Aborigines, then the Maoris, and now he brought this brand of colonialism to South Africa. Dangling the carrot of labour, then applying the stick of punishment. The Cape colony was his laboratory in the Victorian age of discovery. An intellectual exercise. There was quite a bit in it for him of course. An ideologue and highly learned, he had written the New Zealand articles of Representative Government, an act that led to him being knighted. Sir George. Utopia beckons those who are imbued with internal fire — it's only now and then that history provides a crack into which people with this sort of vision can plunge. A man or woman appears at a particular point in time, restructuring entire territories and societies by dint of their character, and their timing, their epoch. During this time, a powerful figure with a vision for change could restructure an entire land before his minders back in England could do anything about it. Correspondence with the antipodes, New Zealand and Australia, took nearly a year for an exchange of letters to take place. Six months one way, six months return. In the meantime, an industrious social engineer could get very busy indeed. South Africa was closer to the centres of power, the new steam driven ships could do the return journey in four months, but that was more than a financial quarter in modern jargon. A person with initiative could launch quite a few initiatives before the folks back in London put a stop to their initiating. The biggest problem at this moment for Grey was not the amaXhosa or AmaZulu or Basotho, nor the Khoe, or the Boers. IT was the British colonial office. They were in the throes of recession not expansion. Retrenchment and withdrawal. Grey pondered the solution. Five thousand white European immigrants should be brought in he wrote, the occupy British Kaffraria. There was a certain problem, and that was the amaNqika Xhosa lived there at a pretty squashed density of 83 people per square mile. To give you an idea of how squashed this was, the Cape colony population density of 1854 was 1.15 per square mile at the same time. The second conundrum was accessing cash to construct all these new schools and public buildings. Grey sent a letter to the Colonial office outlining his needs — this new plan would require 45 000 pounds a year.

Jordi Carbó, meteorólogo de la SER, señala que las lluvias intensas remiten en València mientras la DANA avanza hacia el nordeste y suroeste peninsular. Los servicios de emergencia continúan asistiendo a las zonas más afectadas, donde ya se han registrado fallecidos y varias personas siguen desaparecidas. 

¡Vótame en los Premios iVoox 2024! Después de tres semanas sin Fórmula 1 y dos sin Rallies, este fin de semana tendremos automovilismo hasta que nos cansemos. Y si no podemos esperar el fin de semana, tenemos un par de programas del Podcast Técnica Fórmula 1 hablándonos de estas dos pruebas. Sprint en el Circuito de las Américas. La carrera que da comienzo al triplete americano es el Gran Premio de Estados Unidos, en Austin. El COTA ha sido parcialmente reasfaltado y ahora tiene dos rectas más largas donde se puede usar el DRS, y na zona de gravilla falsa para asegurarse de que los pilotos respetan los límites de pista. Algo que también se ha probado en Zandvoort. Estos cambios harán que la única sesión de entrenamientos libres, el viernes, - recordemos que este fin de semana tiene carrera Sprint - sea especialmente importante. Y, como el Gran Premio tiene diferente formato al habitual y se celebra en América, tenemos que estar atentos a los horarios para no perdernos nada. El viernes tendremos la única sesión de libres a las 19:30h (horario de España Peninsular). También el viernes tendremos la Clasificación de la Sprint, a las 23:30h. El sábado tendremos la Carrera Sprint a las 20:00 y, ya metidos en el domingo, tendremos la Clasificación a las 0:00h. El domingo la Carrera dará comienzo a las 21:00h. Toyota en Haas. Aunque sea fin de semana de Gran Premio hay noticias que merecen ser comentadas. Eso es lo que pasa con la noticia que saltaba esta semana del acuerdo de Toyota con Haas para la Fórmula 1, que se comenta en este segundo episodio de la semana. Rally de Europa Central. Y la otra prueba del fin de semana, esta vez en horario europeo, es el Rally de Europa Central. ¿Saldrá Neuville con su primer Campeonato de esta prueba? Lo que está claro es que Toyota va a trabajar a fondo para no perder, también, el Campeonato de equipos. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

La UABCS nos presenta a esta exclusiva ave de los oasis sudcalifornianos y que se está extinguiendo

Do you love military history? Then this is the podcast for you. The Forlorn Hope. Brave lads who volunteered for near-suicidal missions, such as first into the breach of a siege. Their name is mainly synonymous with the Napoleonic Wars. But what is the history of the Forlorn Hope?  Who were they?  How did armies find enough volunteers for such suicidal missions? James Mace co-wrote this episode and he writes fantastic fiction books that can be found here - https://amzn.to/4cJZ8be and here - https://www.amazon.com/stores/James-Mace/author/B002BMES4O? If you are interested in the Zulu War, then please sign up for my mailing list to receive my free book on the subject: https://redcoathistory.com/newsletter/ Further Reading: Peter Snow - To War with Wellington - https://amzn.to/3yT8aF4 Richard Holmes - Redcoat - https://amzn.to/4e7g8Jr Private Wheeler - Letters from the Peninsular - https://amzn.to/3z3qFqg  

In this episode, produced in collaboration with the Qatar Foundation, Marc Owen Jones — Associate Professor of Media Analytics at Northwestern University Qatar — talks to us about this age of disinformation and how it manifests in the context of the Middle East. We discuss regulating social media platforms and try to understand what exactly disinformation is and where it came from. Touching on significant socio-political events such as the Arab uprisings of 2011, Professor Owen Jones reflects on the unique role that social media plays in the region. Referencing the dangers posed by monopolized social media platforms and data colonialism, we also talk about how the news industry is changing and what this means for historical records. Finally, the conversation moves to young people today and how they grapple with Ai, disinformation, false and new narratives, and orientalist perceptions of the Arab world.Marc Owen Jones is Associate Professor of Media Analytics at Northwestern University Qatar. He is the author of Digital Authoritarianism in the Middle East: Deception, Disinformation and Social Media.Connect with Marc

Tracy Chahwan's bold and vibrant posters have become a common fixture of Beirut's walls, and her colorful illustrations are known and loved by people across the Arab world and beyond. For this episode of the afikra podcast, she joined us in our Beirut-studio to reminisce on the early days of her career, and discuss key influences and what it means to remain authentic as an artist. Referencing her work for Beirut Groove Collective, Samandal, the Nib and ultimately publishing her own comic novel "Beirut Bloody Beirut", Tracy maps how her style has evolved over time. She talks about the difference between commissioned and personal work, what it takes to brand and market yourself as an artist, and how her relationship with Beirut has shifted and changed over the years. 0:00 Introduction & Relationship to Beirut 1:29 Does Beirut Need to Get Its S*** Together? 5:12 Starting Out & Key Inspirations9:12 Self-Censorship & Comic Journalism14:54 Guantanamo & Current Projects 18:36 How the Comics Landscape Has Changed 24:56 Personal vs Commissioned Work 33:10 Emerging Talent & Illustrators From the Arab World36:40 Beirut Bloody Beirut & How the City Has Changed 42:04 Resource Recommendations 44:38 The World of Comics Tracy Chahwan is a cartoonist and illustrator from Lebanon. She started her career in Beirut, producing street art and posters for local independent music venues like the Beirut Groove Collective, and working with the Samandal and Zeez comics collective publishing experimental comics and anthologies. In 2018, she published her first graphic novel "Beirut Bloody Beirut", a story of two girls lost in the Beiruti night. After the Lebanese revolution in October 2019, she turned to journalistic comics, contributing to books such as "Guantanamo Voices" and "Where to Marie? Stories of Feminisms in Lebanon".Connect with Tracy

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! ¡Comenzamos hoy nueva saga exclusiva para mecenas! Una serie que se centrará en Hispania, en sus características y evolución histórica, a lo largo de la Antigüedad Tardía. Hoy, para establecer bases duraderas sobre las que construir esta serie, hacemos un estudio del espacio físico de la península ibérica centrándonos en cómo pudo ser el paisaje geográfico, el clima, la flora y la fauna en aquellos tiempos a fin de establecer paralelismos con la península ibérica en la actualidad (y a fin también de comprender el desarrollo de las sociedades humanas allí asentadas). Enclave estratégico entre el Mediterráneo y el Atlántico, entre Europa y África; puerta de entrada (y salida) del Mare Nostum; Hispania, la vieja Iberia, esconde muchos secretos que merece la pena conocer. Bienvenidos al episodio I de Hispania en la Antigëdad Tardía. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This episode was recorded on June 7th 2024.Idriss Jebari is a lecturer in Middle East Studies at Trinity College Dublin. He is a historian of Arab thought and his upcoming book will address North African cultural and social history after its independence's from France, on the radical sixties and seventies, on collective memory in the Arab world. After completing his doctorate the history of production of critical thought in Morocco and Tunisia at the University of Oxford, he held a postdoctoral research fellowship at the American University of Beirut (Lebanon), and at Bowdoin College in Maine (USA).Connect with Idriss

Aunque a todos nos agradan los descansos y las vacaciones, lo cierto es que este año la Fórmula 1 nos tiene tan enganchados por su alto nivel de competitividad que se nos va a hacer muy largo el mes de agosto, sin carreras. Eso sí, se va de vacaciones por todo lo alto, tras el GP de Bélgica, una de las más deseadas del año, en Spa-Francorchamps. Todo lo necesario para prepararnos, además de la crónica del fabuloso Rally de Letonia y de la increíble carrera de la Indycar en Toronto, en el segundo episodio de la semana del Podcast Técnica Fórmula 1. De Budapest a Spa, un gran cambio. Spa-Francochamps es uno de los circuitos favoritos de los aficionados y de los más bonitos del mundo, donde se han vivido algunos de los mejores momentos de la historia de la Fórmula 1. Además, este año el trazado se ha renovado. Aún así, y dado que ya lo conocen de las 24Horas de Spa, Pirelli ha decidido montar el mismo tipo de compuestos que en años anteriores, la agama media (C2, C3 y C4). Lo que está claro es que la razón de que esta sea una de las carreras estrella de la temporada es la configuración del circuito, que hace que algunos equipos sean muy fuertes en los sectores 1 y 3 y más lentos en el segundo sector. Y otra razón es la meteorología… y a esos cambios estamos ya muy acostumbrados. De todos estos factores nos hablarán en este segundo programa de la semana del Podcast Técnica Fórmula 1. Y, además, nos contarán los horarios: sesiones de libres el viernes a las 13:30h y a las 17:00h. Sesión de libres el sábado a las 12:30h y clasificación a las 16:00h. E inicio de carrera el domingo (que sabemos que será impresionante, tal y como está el Campeonato) a las 15:00h; siempre hablando de horario de la España Peninsular. Indycar: espectáculo en Toronto. Para ser una carrera con un solo piloto liderando 81 de las 85 vueltas y ganando desde la pole mientras su compañero de equipo ayudaba a conseguir un 1-2 para su organización, la carrera de la Indycar en Toronto de este pasado fin de semana fue un espectáculo impresionante. A resaltar, el dominio de Colton Herta. Y el vuelo de Santino Ferrucci, que salió ileso y tranquilo del coche una vez que los comisarios lograron ponerlo de nuevo sobre las cuatro ruedas (había acabado cabeza abajo, colgado). Y, como no, también hay que hablar de Palou y de su impresionante trabajo, partiendo 18º y terminando 4º. Sólo tuvo que esperar a que los rivales se fueran descartando en los muros de la ciudad canadiense, hizo una gran estrategia de undercut a muchos, condujo con cabeza y ahora sale más reforzado en el Campeonato, tan líder como antes Ohio. Qué pilotazo y qué inteligencia. A falta tan sólo de 5 carreras en el calendario, tiene una ventaja de 48 puntos sobre el segundo clasificado (Will Power), casi una carrera completa. Rally de Letonia: monumental victoria de Rovanperä. Tremendo Rally de Letonia, precioso, con una monumental victoria de Kalle Rovanpera, aprovechando, claro, la limpieza de pista hecha por otros pero, aún así, otra pedazo de actuación del finlandés. Sin embargo, lo mejor de todo fue ver al piloto local, Martin Sesks, con un Rally 1 ya con parte híbrida ganando tramos. Incluso habría firmado el podio, que perdieron en el último tramo por un problema mecánico, en el diferencial del Puma. Impresionante actuación que mereció mucho más. Y esto merece mucha reflexión sobre el problema del WRC con las nuevas generaciones de pilotos, cuyo talento se está desperdiciando. Si hablamos de clasificaciones: Neuville y Tänak, con Hyundai, son los primeros en el Mundial, con Elfyn Evans en tercera posición. Hyundai, aunque sólo por un punto, es líder en el Campeonato de Constructores. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Venetia Porter is an Honorary Research Fellow at the British Museum. Formerly Curator of Islamic and Contemporary Middle Eastern Art at the British Museum, her published titles include "Reflections: Contemporary Art of the Middle East and North Africa", "The Islamic World: A History in Objects", "Hajj: Journey to the Heart of Islam" and "Word Into Art: Artists of the Modern Middle East". Her mother, Thea Porter, known as the queen of 1960s Bohemian Chic, fused a love for Central Asian textiles with her personal experiences in Beirut working between Fashion & Interior Design. Her illustrious tapestry kaftans, Iraqi "Samawa" carpet coats, and antique chiffons saturated the pages of the era's British Vogue. During the key decades of British boho-revival, beloved Porter designs were worn by the likes of Anita Pallenberg, Faye Dunaway, Lauren Hutton, the Rolling Stones and Pink Floyd.Connect with Venetia 

This episode of the afikra podcast was recorded on April 10th at 1pm Palestine TimeLorenzo Kamel teaches Global History and History of the Middle East and North Africa at the University of Turin. He has held teaching and research positions at Harvard University, the Albert-Ludwigs-Universität Freiburg, ‘Ain Shams University in Cairo, and a number of other universities in Europe and the Middle East. His most recent books are 'History Below the Global' (Routledge 2024) and 'The Middle from Empire to Sealed Identities' (Edinburgh UP 2020).Connect with Lorenzo

A special thanks to today's sponsor - Osprey Publishing - The destination for military history books. Here is the link to their website - https://bit.ly/redcoatosprey Britain and Portugal...It's the longest continuing alliance in global history… and Winston Churchill said it was an alliance “without parallel in world history”. In today's Podcast we will explore some forgotten conflicts like that of 1762 . . .then we'll take a look at how the two armies fought side by side in the Peninsular war and take a deep look at the Battle of Bussacco - the battle that forged the Portuguese army. We'll then examine the role of the "Pork and beans" as they were known on the western front in the First World War. It's fascinating stuff. Stay tuned till the end to find out how The Portuguese also played a part in Britain's Falklands campaign in 1982. If you are interested in the Zulu War, then please sign up for my mailing list to receive my free book on the subject: https://redcoathistory.com/newsletter/ If you are very generous, you can also buy me a coffee and help support the channel via https://ko-fi.com/redcoathistory or sign up for my Patreon page via www.patreon.com/redcoathistory   

This episode was recorded on May 3rd 2024.Maysa Jalbout is a global education advocate, philanthropyexecutive and impact advisor. She is an industry veteran and led the establishment of Al Ghurair Foundation, the Queen Rania Foundation and many other private and corporate foundations. A recognized leader in international development and philanthropy, Maysa has over 25 years of experience in building effective organizations, initiatives and innovative partnerships in Canada, the Middle East, and other territories.Connect with Maysa

Scan Messages 6/24/24- Your becoming calmer and at peace in your life. At the same time, Someone has the intention of coming in and out of your life to create a war. This will not affect you at all though. You will see a conflict is just an illusion meant to stop you from moving forward. Expect to laugh it all off. Focus on you and the vision you have for yourself. ❤️

[107] Rovinj on the Istrian Peninsular in Croatia is one of those places that leaves a lasting impression.  From the very first moment you arrive, you realise this place is special.  In this episode we take you all around the stunning 2,000 year old narrow cobblestone streets, past pastel coloured buildings, art galleries, artisan shops, cafes and restaurants up to the highest point – Saint Eufemia church – with the most spectacular 360 degree views. Next, we guide you around the harbour full of fishing boats and surrounded by pretty restaurants all selling the fresh catch of the day. There is a glamorous modern side to Rovinj as well, and we tell you about the Grand Hotel Park, the fancy marina plus the stunning beaches all within in an easy walk of the old town. We share a couple of surprisingly expensive things you can hire in Rovinj, including a super yacht as well as the best place to enjoy the famous sunset that Rovinj is known for. I really hope you enjoy this episode all about Rovinj, Croatia – and if you want to see all the pictures from this episode just click here www.beachtravelwine.com/podcast/107/rovinj --- Send in a voice message: https://podcasters.spotify.com/pod/show/leanne-mccabe/message

Brahim El Guabli is the Chair and Associate Professor of Arabic Studies. He is interested in topics of Maghrebi and Middle Eastern literature, including trauma and memory, Saharan imaginations, Jews in Arabic literature and film, transitional justice processes, translation, current events, Marxist Leninist Movements, Afro-Arab solidarities, and decolonization movements. He is the co-founder and co-editor of Tamazgha Studies Journal.Connect with Brahim

Atef Said is an associate professor at the University of Illinois Chicago, and a sociologist who's passionate about politics, revolutions and social change. His scholarship engages with the fields of sociological theory, political sociology, historical sociology, sociology of the Middle East, and global sociology. His book "Revolution Squared: Tahrir, Political Possibilities & Counterrevolution in Egypt" examines the 2011 Egyptian Revolution to trace the expansive range of liberatory possibilities and containment at the heart of every revolution.Connect with Atef

Search for Venezuelan Flowerpiercer on the Paria Peninsular, Venezuela. If you're enjoying CHASING FEATHERS and want to buy me a coffee, visit: https://www.buymeacoffee.com/chasingfeathers Theme: La Boqueria (Sting version) by Loius Nichols. Courtesy of Epidemic Sound ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.epidemicsound.com/track/uWeGdACji6/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Please send feedback to: Charley Hesse cfchesse@gmail.com

Search for Scissor-tailed Hummingbird at Paria Peninsular, Venezuela. If you're enjoying CHASING FEATHERS and want to buy me a coffee, visit: https://www.buymeacoffee.com/chasingfeathers Theme: La Boqueria (Sting version) by Loius Nichols. Courtesy of Epidemic Sound ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.epidemicsound.com/track/uWeGdACji6/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Please send feedback to: Charley Hesse cfchesse@gmail.com

Roberto Fabbri is an architect, researcher, and associate professor at Zayed University, College of Arts and Creative Enterprises (UAE). His research interest engages with the notion of narrative spaces, reading the role of heritage and architecture in the definition of processes such as modernization, identity-making, knowledge exchange and establishment of traditions. With an emphasis on the Middle East and the Gulf, Roberto's research embraces 20th-century architecture and its potential reuse as well as cultural spaces (museums and exhibitions) in the Global South. He co-authored the double-volume “Modern Architecture Kuwait 1949 - 1989” with Sara Saragoça Soares and Ricardo Camacho.Connect with Roberto

Michael Christopher Low received his PhD from Columbia University in 2015. He is the director of the University of Utah's Middle East Center and his primary research and teaching interests include the Ottoman Empire, the Arabian Peninsula, the Indian Ocean world, and environmental history. He is the author of Imperial Mecca: Ottoman Arabia and the Indian Ocean Hajj (Columbia University Press, 2020) which in 2021 won the Middle East Studies Association's Albert Hourani Book Award.Connect with Michael

This episode was recorded on March 27th, 2024.Zahra Hankir is a Lebanese-British journalist, editor and author. She was awarded a Jack R. Howard Fellowship to attend the Columbia Journalism School and holds degrees in politics and Middle Eastern studies. Her first book "Our Women on the Ground" was a bestseller and won the Susan Koppelman award for best anthology in feminist studies. This second book "Eyeliner: A Cultural History" was a New York Times Book Review Editors' pick and had starred reviews from Publishers Weekly and Library Journal.Connect with Zahra

M'hamed Oualdi is full professor of history at Sciences Po-Paris. He is a historian of Early Modern and Modern North Africa trained in Arabic at Inalco-Paris and in history at the Sorbonne University (Paris 1-Panthéon Sorbonne) from which he obtained his PhD in 2008. Prior to joining the faculty at Sciences Po, he was associate professor at Princeton University (2013-2019) and maître de conferences at Inalco-Paris (2010-2013). His research has centered on two main topics: slavery and its social impacts on Ottoman Tunisia and the many effects of transitioning from the Ottoman rule to a French colonial domination in North African societies.Connect with M'hamed

In this episode of the afikra podcast, we tackle the alternative histories of Beirut, planning cities that put communities first, and rethinking public spaces. Mona Fawaz — co-founder of Beirut Urban Lab and professor of Urban Studies and Planning at the American University of Beirut (AUB) — tells us about her research into Lebanon's temporary settlements, unearthing alternative histories of Beirut, and why the city still goes by its masterplan from the 50s which puts cars first. She explains the intricacies of urban studies, what "planning" as a profession actually means, and why she considers Beirut to be a "hijacked city". Finally, Mona tells us about the fascinating work and research that Beirut Urban Lab is doing and the visions she has for the future of this city.Mona Fawaz is a Professor in Urban Studies and Planning at the American University of Beirut (AUB). She is also the co-founder of the Beirut Urban Lab at AUB, and serves as the director of the Social Justice and the City research program at the Issam Fares Institute of Public Policy (also at AUB). Mona was a fellow at the Radcliffe Institute of Advanced Studies at Harvard University during the 2014/15 academic year and in Summer 2017.Connect with Mona

This afikra podcast episode with Hamed Bukhamseen and Ali Ismail Karimi of Civil Architecture delves into the architectural, geographic, cultural, and historic fabric of "the Gulf". We ask what and where is the Gulf? Is it a concrete geography or an abstract entity? Ali and Hamed reflect on what it means to be of and from this region and how this has evolved over time.Through an economic and political lens, they talk about the branding of the Gulf, the intellectual project behind it, and the impact of neoliberal policies on its present and future. Finally, we ask them both to compare and contrast their home cities of Kuwait (for Hamed) and Bahrain (for Ali) — and explain why some people consider highways to be public spaces.Civil Architecture is a cultural practice pre-occupied with the making of buildings and books about them. Civil's work asks what it means to produce architecture in a decidedly un-civil time, presenting a new civic character for a global condition. Since its founding by Hamed Bukhamseen and Ali Ismail Karimi, the practice has attracted a strong following for its provocative works and its offer of an alternate future for a nascent Middle East.Connect with Civil Architecture

Rajat Malhotra — partner at Sole DXB: Dubai's annual footwear, music, art and lifestyle festival — comes on the afikra podcast to talk about bringing street culture to his home city. He shares what it was like starting the festival alongside his co-founders, reflects on his favorite acts from over the years, and what it's really like to curate an event of this scale. Rajat also reflects on Dubai's unique nature as a city that people of mixed heritage can easily make home, what Saudi Arabia's immense cultural investment might mean for Dubai's cultural eco-system, and whether political hip-hop can thrive in the Gulf.Rajat Malhotra is a partner of Sole DXB alongside Hussain Moloohbhoy and Joshua Cox.Connect with Rajat

Renowned professor of ethics, law and political thought and leading scholar of Islamic Legal Studies, Dr Wael Hallaq, joins us on this episode of the afikra podcast to discuss Sharia law, the modern state, Legal Orientalism, and the idea of a "stateless" yet still orderly world.Dr Hallaq deals with reductionist understandings of Sharia law, critiques modernism and the modern state, and breaks down the successes and shortcomings of Edward Said's Orientalism. We discuss the concept of Legal Orientalism, delve into the advanced complexities of Sharia law, and talk about his book "The Impossible State: Islam, Politics, and Modernity's Moral Predicament". Finally, Dr Hallaq talks passionately about what he calls the "bankrupt realities" we're facing in the modern era and calls the very states and systems that make up our world into question.Wael B. Hallaq is the Avalon Foundation Professor in the Humanities at Columbia University, where he has been teaching ethics, law, and political thought since 2009. He is considered a leading scholar of Islamic Legal Studies and Islamic Law. He has written several books including "The Impossible State: Islam, Politics, and Modernity's Moral Predicament" and "Restating Orientalism: A Critique of Modern Knowledge".Connect with Wael

Maysoon Zayid, Palestinian comedian, actress, graphic novel author and co-creator of the NY Arab-American Comedy Festival, joins us on the afikra podcast to talk all things comedy, Palestine, Arab-America, and advocating for the disabled community.Maysoon talks about how she grew up to be the confident, unapologetic, publicly Palestinian comedian we know and love today. She gives us an insight into the world of comedy: from testing new material, getting bored of making fun of Donald Trump, and being vilified as an Arab comedian in the United States. Finally, she tells us about her upcoming graphic novel "Shiny Misfits".Maysoon Zayid is a Palestinian comedian, actress, writer and disability advocate who was born and raised in New Jersey. She is the co-founder and co-executive producer of the New York Arab American Comedy Festival and The Muslim Funny Fest.Connect with Maysoon

The first of three live Design Doha podcast recordings features an interview with the Biennial's deputy director Fahad Al Obaidly. He takes us behind the scenes of Design Doha, breaks down what "Celebrating Regional Design Excellence" means in practice, and how the Biennial roots itself in locality. Fahad tells us about the strength of the design industry in the Arab World as well as his personal highlights from the Biennial.Fahad Al Obaidly is the Deputy Director of Design Doha, as well as a fashion designer, artist and filmmaker.Connect with Fahad

Marwan Kraidy, CEO and Dean of Northwestern Qatar and leading scholar of global communication and media, joins us on the afikra podcast to discuss media, truth, and journalism in the Arab world.This episode dives into the impact of mobile phones, reflects on whether social media is a force for good or not, and explores the notion of “socio-political maturity”. We discuss how the center of gravity for media in the Arab world has shifted to the Gulf and why the old adage “Cairo writes, Beirut publishes and Baghdad reads” no longer holds true. Finally, we talk about the business model for media in the Arab world right now and why Turkish TV series have seen such major success. Marwan M. Kraidy is dean and CEO of Northwestern in Qatar. He founded the Institute for Advanced Study in the Global South, which hosts multidisciplinary teams of faculty and students dedicated to evidence-based storytelling on the diverse histories, cultures, societies and media of the Global south. He is a scholar of global communication and an authority on Arab media, culture and politics. Connect with Marwan

This is episode 162. First, some housekeeping. A huge thank you to all my supporters, the podcast just passed 1.3 million listens, so there's a large number of folks out there who've found this series useful. I'm so delighted that our crazy tale here on the southern tip of Africa has resonated with so many people. The response has utterly stunned me, thinking when I started that being so battered by headwinds as we are at the moment, cynicism would sink the show. But it's the opposite. To all the hundreds of listeners sending emails over the last 24 months, your personal stories and responses are all noted and stored. There's a treasure trove of stuff which I'm going to try and use where appropriate. If you'd like to contact me please send a mail to desmondlatham@gmail.com Or head off to my site desmondlatham.blog there's a contact form there and a newsletter sign-up. And now back to the mid-1840s. When we left off, Moshoeshoe and Adam Kok had signed a Treaty with the Cape Governor which gave them formal power over their territory. And as you know if you listened to episode 161, the definition of exactly what was their territory was somewhat hazy. By now the BaTlokwa, the Koranna and the Voortrekkers amongst others, had taken issue with this treaty, saying Moshoeshoe and Kok had no control over their people. There was a flourishing trade across the Orange, tying Cape Towns like Beaufort West, Graaff-Reinet and Grahamstown were directly linked to the settlements to the north by these trade routes. The Griqua received their gunpowder from these towns and sold their cattle and ivory there for example. The Orange River was a significant challenge, at this stage there was no bridge or ferry and when it flooded, weeks could pass before wagons could cross. The British presence was concentrated in Colesberg where the civil commissioner with the wonderfully memorable name of Fleetwood Rawstone served for 21 years. He was subordinate to the Lieutenant Governor of the eastern Province held through the crucial years of the 1840s by Lieutenant Colonel Hare who lived in Grahamstown. After the return of Jan Mocke, Jan Kock and the Modder River Boers from Natal, life became more difficult for the British commissioner. The Treaty signed between the Griqua and the Cape Colony in 1843 was supposed to bring permanent peace to the Transorangia region but was predicated on the fact that the Griqua were supposed to pacify the Boers. The Boers totally rejected that premise. In November 1844, the Boers had enough and a commando was assembled under Jan Kock which rode to Philippolis, where a Griqua commando had been also been assembled and awaited their arrival. A Mexican standoff developed. It's defined as a confrontation where no strategy exists that allows either party to achieve victory. Just as an aside, the cliché of a Mexican standoff is best known in Westerns, and probably the most memorable would be Sergio Leone's 1966 Classic The Good, the Bad and the Ugly. Governor Maitland was deep in thought back in the Cape. He'd quickly assessed the rising tension across the Orange, as well as in the eastern Cape. He was another Peninsular war vet, commanding a Brigade at the Battle of Waterloo. Maitland had been part of the army that defeated Napoleon and his bravery during that Battle had brought him a formal vote of thanks from the British House of Commons.

Art historian, educator and author Jonathon Bloom joins us on the afikra podcast to talk about paper, print and the Islamic world. He talks us through changing understandings of "Islamic" art and architecture through the decades, explains the premise of his book "Paper Before Print: The History and Impact of Paper in the Islamic World" and whether it's worth using the term "Islamic Art" in the first place. We touch on the fascinating architectural history of the Minaret, the cultural impact of paper, and what it's like to co-write and work alongside his wife Sheila Blair.Jonathon M Bloom is an art historian, author and educator. He retired in 2018 as the Norma Jean Calderwood University Professor of Islamic and Asian Art at Boston College and in 2019 as the Hamad Bin Khalifa Endowed Chair of Islamic Art at Virginia Commonwealth University, positions that he shared with his wife and co-author Sheila Blair.Connect with Jonathon

The chief curator of the UAE's National Pavillion for the 17th Architecture Bienalle di Venezia (2020 and 2021) – and recipient of the Golden Lion Award – architect Wael Al Awar joins us on the afikra podcast for fascinating conversation about the problem with modern and globalized architecture, and building with the future in mind. Waiwai's founding partner and principle architect takes a deep dive into cement as a material and discusses the disconnect between standardized architecture and cultural and geographical contexts. Wael also explains why architecture as a profession has become intertwined with ego, and answers whether we're truly stuck with skyscrapers.Wael Al Awar is an architect and founder of waiwai alongside Kazuma Yamao — an architectural, landscape, urban, interior and graphic design studio with offices in Dubai and Tokyo. Waiwai takes a highly contextual approach to address social, environmental and technological questions through design. Wael was the chief Curator of the National Pavilion of the UAE for the Bienalle di Venezia 2020 and 2021, and recipient of the Golden Lion Award.Connect with Wael

The chief curator of the UAE's National Pavillion for the 17th Architecture Bienalle di Venezia (2020 and 2021) – and recipient of the Golden Lion Award – architect Wael Al Awar joins us on the afikra podcast for fascinating conversation about the problem with modern and globalized architecture, and building with the future in mind. Waiwai's founding partner and principle architect takes a deep dive into cement as a material and discusses the disconnect between standardized architecture and cultural and geographical contexts. Wael also explains why architecture as a profession has become intertwined with ego, and answers whether we're truly stuck with skyscrapers.Wael Al Awar is an architect and founder of waiwai alongside Kazuma Yamao — an architectural, landscape, urban, interior and graphic design studio with offices in Dubai and Tokyo. Waiwai takes a highly contextual approach to address social, environmental and technological questions through design. Wael was the chief Curator of the National Pavilion of the UAE for the Bienalle di Venezia 2020 and 2021, and recipient of the Golden Lion Award.Connect with Wael

Waleed Ziad — author of "Hidden Caliphate: Sufi Saints beyond the Oxus and Indus" — joins us on the afikra podcast to demystify Sufism. Ziad explains the mystical and scientific aspects of Sufism and its far reaching geographies that surpass today's "securitized" borders and colonial conceptions of South Asia, Central Asia and the Middle East as "reified zones". We also learn about the concept of sovereignty in the Islamic world and how modern day understandings of Sufism and abandonment of meditative practices differ from the realities of the pre-20th century Muslim world.Waleed Ziad is an associate professor at the University of North Carolina at Chapel Hill and the author of Hidden Caliphate: Sufi Saints beyond the Oxus and Indus" which won the Albert Hourani Prize. His research concerns the historical and philosophical foundations of Muslim revivalism and revivalist responses to internal political fragmentation and colonialism in the "Persiante" world.Connect with Waleed

Nuestros cómicos Agustín Jiménez, Leo Harlem, Goyo Jiménez y Borja Fernández Sedano nos acompañan en 'La Quinta Hora'. Como estamos celebrando la semana de la radio, hablamos con algunos de los primeros locutores como Ansón Joaquín Bravo, quien presentó el famoso programa 'No me ha sonado la alarma', y Herminio José Ballesteros, locutor de la antigua cadena Unión Ibérica Peninsular. Con ellos escuchamos el momento en el que se les ocurrieron las frases de "¿podría usted bajar el volumen de su transistor, por favor?" o "mandar un saludo" a alguien. 

Nuestros cómicos Agustín Jiménez, Leo Harlem, Goyo Jiménez y Borja Fernández Sedano nos acompañan en 'La Quinta Hora'. Como estamos celebrando la semana de la radio, hablamos con algunos de los primeros locutores como Ansón Joaquín Bravo, quien presentó el famoso programa 'No me ha sonado la alarma', y Herminio José Ballesteros, locutor de la antigua cadena Unión Ibérica Peninsular. Con ellos escuchamos el momento en el que se les ocurrieron las frases de "¿podría usted bajar el volumen de su transistor, por favor?" o "mandar un saludo" a alguien. 

Secuelas del puente. La increíble masa humana que ha conquistado Madrid durante el puente se ha disgregado salvo un grupo formado por más de 30 mil personas que siguen caminando apretaditas hacia el sur

Secuelas del puente. La increíble masa humana que ha conquistado Madrid durante el puente se ha disgregado salvo un grupo formado por más de 30 mil personas que siguen caminando apretaditas hacia el sur

Secuelas del puente. La increíble masa humana que ha conquistado Madrid durante el puente se ha disgregado salvo un grupo formado por más de 30 mil personas que siguen caminando apretaditas hacia el sur

With a vast discography featuring both emerging artists and some of the biggest names in Arabic music, Sleiman Damien is completely tapped into the region's pop genre. We asked him what he thinks of the phrase “Arab pop fusion”, which metrics actually matter to him, and why he thinks legacy superstars have more sticking power in today's fickle industry. We reflect on the role of ego in the region's music industry, comparing the “old guard” to emerging musicians and their approach to collaboration. Sleiman also talks about his experience working as a ghost producer and how he reacts emotionally to his own work. He also shares his mental health journey, especially when it comes to the emphasis placed on performance metrics and an obsession with knowing how people feel about his own creations. Sleiman Damien is a music producer, DJ and audio engineer from Beirut, Lebanon. Much of his work is focussed on the Arab pop genre. He has worked with music talents from across the region such as Georges Wassouf, Nassif Zeytoun, Haifa Wehbe, Assi Hallani, Ragheb Alama, Abeer Nehme, Dana Hourani, Maritta Hallani, Adonis, Zef and many more. Theme music: "Peninsular", Tarek Yamani 

El Gran Circo salta de Singapur a Japón y cambia su horario, pues la carrera en el País del Sol Naciente se desarrollará de la forma habitual, es decir, se disputará de día. Así que en Europa nos tocará madrugar (y ver los libres de madrugada) para seguir este mítico Gran Premio. En el Podcast Técnica Fórmula 1 nos preparan con todos los datos necesarios por si “sólo” queremos madrugar este fin de semana. El cambio climático comienza a afectar a la Fórmula 1. Como suele ser habitual, los neumáticos elegidos para esta pista por Pirelli son de los más duros de la gama, de hecho, el C1, el compuesto más duro seleccionado, tan sólo tiene el C0 como compuesto más duro por encima de él. Pero la diferencia en esta ocasión es que las altas temperaturas que se están registrando en Japón, con máximas de hasta 33ºC, podrían aumentar la degradación de las gomas, siendo este un factor a tener en cuenta para la carrera. Y es que es más que habitual que las condiciones meteorológicas influyan en el Gran Premio de Japón, se podría decir que es una tradición: hasta en 4 ocasiones (2004, 2009, 2010 y 2019) la clasificación ha debido celebrarse el domingo por la mañana, debido a las lluvias torrenciales o a las amenazas de tifón. Y en 2022 la carrera tuvo que pararse tras la salida, por la lluvia, y se reanudó 3 horas después, disputándose tan sólo 45 minutos y 28 vueltas. En cualquier caso, el asfalto de Suzuka es uno de los más abrasivos de la temporada y el desgaste y la abrasión son factores que influyen muchísimo a la hora de definir las estrategias de carrera. Eso no le resta belleza a este exigente circuito, normalmente uno de los favoritos de pilotos y aficionados. ¿Esperamos sorpresas también en Japón? El año pasado, Max Verstappen se coronó Campeón del Mundo en Japón, pero la imagen dada en Singapur por los Red Bull nos hace soñar con que la temporada se vuelva más competitiva. Y no es que las últimas carreras nos hayan aburrido - a pesar del resultado esperado en casi todas. Sin embargo, parece ser que una de las causas de ese descenso de rendimiento de los de la bebida energética se ha debido a que la FIA les ha revisado (y eliminado) parte de la flexión del alerón delantero, lo que afecta directamente a la aerodinámica y podría seguir afectándoles en próximas carreras. Cualquier aumento en las luchas, en cualquier caso, será bienvenido, aunque para verlo tengamos que madrugar, y mucho. En esta ocasión los horarios para los que siguen la Fórmula 1 con horario de España Peninsular cambian radicalmente: los primeros libres, el viernes, y los terceros libres, el sábado, tendrán lugar de 4:30h a 5:30h. Los segundos libres y la clasificación comenzarán a las 8:00h. Y la carrera verá apagarse sus semáforos a las 7:00h. Esperemos, la semana próxima, poder contar que fue otra excelente carrera, llena de emoción, independientemente del resultado final… que también nos gustaría que fuera poco usual. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

P-Thugg, one half of music duo Chromeo, shares the secrets to a successful and long-term musical collaboration. On set with us in Beirut, he talks about the experiences that led to his discovering funk and hip hop, growing up between Lebanon and Canada and his changing relationship with the former, and what it's like attending the VMAs. He tells us of Chromeo's early days when he and David “Dave 1” Macklovitch met and started making music together. We also reflect on how the craft of making music videos has changed and how important humor, honesty and musical knowledge are. P-Thugg also talks about the origins of his online marketplace “Ya Habibi Market” and names his all-time-favorite dance artists. P-Thugg, also known as Patrick Gemayel, is a Lebanese musician and one half of the electro-funk duo Chromeo. He's also the founder of Ya Habibi Market, a collective of multidisciplinary MENA creatives, artists and designers from around the world. Theme music: "Peninsular", Tarek Yamani 

Luis Herrero entrevista a José Luis Camacho, portavoz de la Agencia Estatal de Meteorología (AEMET).

Let's take another look at the push factors driving the Voortrekkers away from their frontier farms. Most had lived on the margins of society for generations, part of the first group of Dutch who began spreading out from the Peninsular in the 17th Century, developing an ethos of independence and a culture of self-reliance. They were naturally anti-establishment if you like, while being presented as ultra conservative in their religion. In modern terms this implies certain characteristics which I creates a classic misreading of who they were. Remember the first trekkers were not averse to marrying Khoekhoe and even amaXhosa women, it was only later that their conservatism morphed into a belief in racial separation. You know enough by now not to make the mistake of double-guessing our ancestors based on modern politics and society's rules, the prism of the present is a social blindfold when it comes to perception. It gets the crude and raw politician of any epoch into a logic gridlock, an intellectual cul de sac. There was no doubt that the actions of Lord Glenelg when he took over the Colonial Office in 1835 exacerbated the Boers perceptions of the English. Remember how he'd met Andries Stockenstrom the Dutch Swede who had briefed him about how the Khoekhoe servants were treated in the Cape. Glenelg then overturned decisions to move the frontier to the Kei river, an action which marked him both as a blunderer and a misguided liberal. It is true that this story became the most deeply embedded consequence of the war in the colonial pysche, it was an imprint that never faded, it was bitterly mulled over for the next one hundred years, and it was also in an ironic mental shift, the moment that the English speaking settlers became African. They'd been thrown under the colonial bus by both their King and country. They suddenly realised that their homeland was no longer their friend, the political leadership of the British govenrment had turned them into aliens, they no longer recognized themselves as English. This would take another generation or two to play out, but folks, it was a moment. What we have to understand is that while this was going on in relation to the 1820 Settler stock, further north east, in Port Natal, the settlers there were very much in favour of the British government. They were two different sets of English speakers, which we kind of lump together. Interestingly enough, something like this was also going on in Canada and in Australia and New Zealand. The English speakers there were grappling with their own nationality. For the Boers, Glenelg's decision was easier to cope with than for the 1820 Settlers — the Boers had never trusted the English so it was time to leave. The boers had always directed their own fate, while the 1820 settler was implacably tied to their countries foreign policy. The Boers were interested in land, but didn't really care for Glenelg's annexation of the province of Queen Adelaide - they'd still be vassals to the British empire there anyway.