Podcasts about Petri

When you see medical information, how do you know if it's true or just hype? You're often told to do your own research, but how?    I'm Dr.Vickie Petz Kasper. If you're ready to take control of your health, you're in the right  place. Whether you're focused on prevention or you're trying to manage a condition. I'll give you practical steps to start your own journey toward better health because healthy looks great on you. Episode 1 66 "How to do your own Research." Five years ago, the world shut down. And I remember that day so clearly. I called my mother and I said, where are you? And she was getting a mammogram and I said, go home and stay home for the next several weeks. I worked from home, visited with my friends outside and distanced, and we wore a mask in public.  I even hosted my family for Thanksgiving outside on the deck. Honestly, it was one of the most memorable thanksgivings ever. I used the china tablecloths, and I even moved the dining room chairs outside. Fortunately, the weather was perfect,  but was all that really necessary.  People started asking questions and coming up with their own answers.  I've wanted to do this episode for a long time. But it's not about covid. We'll get to that later, but this is the time in history when people were encouraged to start doing their own medical research. However, to my knowledge, nobody's giving you instructions on how. I love people and I love helping people learn to optimize their health through evidence-based lifestyle medicine. And if anything I say offends you, let's talk about it. You can email me at DrVickie@healthylooksgreatonyou.com, and I'll schedule a call with you. I will not, however, engage with anyone on social media. That's just not a good way to have a conversation. We should do it in person. If you've listened to this podcast before, you know we're going to mini medical school to learn how to do your own research. But I suppose that only equips you to do mini research. Right? On top of that, there are a lot of pre-reqs for medical school classes, like statistics and basic biology. So let's start  there with a couple of definitions. In vivo versus in vitro. I bet you didn't see that coming, but stick with me. This is important.  In vitro refers to in the lab, either in a test tube or a Petri dish, in vivo refers to a living organism. And you need to understand that humans are unique. What affects a jellyfish may not affect a dog the same way. And what affects a monkey, may not have the same effects on your brother, even if he acts like one sometimes. So when doing your own research, it's important to understand where the experiment took place. For example, I recently saw someone touting the benefits of an old drug that we used to use for bladder cancer until better treatments were developed. When I looked at the source, the studies were done on mouse melanoma cells from the lab. In other words, they gave a mouse cancer, took the cancer cells out, mixed 'em in a dish with this drug, and voila, the cancer cells died.  Okay? If I need something to kill mouse cancer cells in a Petri dish, please sign me up. But you get the picture.   Now, I mentioned that I looked at the source, and if you hear me say one thing today, it's, look at the source. Always, look at the source. And it's also important to talk about the pace of science. As studies are done, new information becomes available, and recommendations may change. If you listen to the end of my podcast, I say that at the end of every episode. And listen, I do a ton of research for every one of these episodes. It takes me hours and hours longer than the writing, recording, editing, and publishing. But that still doesn't mean a new study won't come out tomorrow and make the information that I'm sharing outdated. So if you're going to do your own research, you gotta keep up and make sure there's not a more current, better designed study that suggests something different.   Let me put it like this. About a year and a half ago, I moved away from the town where I had lived for 28 years, and the whole entire time I lived there, there was this big red brick building right there on Main Street. Now, I hadn't been back in a while, but the other day I went and when I drove down Main Street, that building was white. Now if I hadn't been there recently, I would believe with all my heart that there was a big red brick building on Main Street.  But things change, and if you look at a study that's five years old, you need to understand that five years is a really long time in the world of science and research. We may have learned a lot of new information since then. Things change. So keep that in mind when you're doing your own research. Now I've been talking about sources and I'll keep doing it, but here's the deal. I see a lot of information shared without any source, medical and otherwise no source. Just a so-called fact, and people share it like it's the gospel truth.  Can I be frank?  I see a lot of my friends share misinformation. I. How do I know it's misinformation? Because I am a big time skeptic and I don't take anything at face value and neither should you.  But if you're going to share something, especially medical advice, please be sure it's credible and not just something that matches your bias. Bias is another term we need to understand because I promise it affects you, me and the scientist doing the research. So let's talk about the scientist first. I'm going to call her Dr. Ink, and she believes with all of her heart that writing with blue ink causes your hair to fall out. I mean, she is convinced it's true. So she starts asking people who suffer hair loss, "Did you use a blue ink pen before your hair fell out?" Now, here's what typically happens. People who suffer hair loss and used black ink, they just kind of move on. But those bald people who used blue ink raised their hand. Me, me, me, me, me. See, Dr. Ink was right. Blue ink causes hair loss.   Now, I know that's a ridiculous example, but seriously, bias is huge in research. You see, what Dr. Ink should have done is a randomized, double-blinded, placebo controlled trial because that is the gold standard In research. A well-designed study would look at people randomly, not just those you select out because either they have hair loss or they used blue ink. That creates bias.   And Dr. Ink needs to use invisible ink so that she's blind to who used blue Ink versus who used black Ink. But Dr. Ink has decided that she's really onto something in her practice because every single person who has hair lost used blue ink, so she decides to go against the grain and share that information. We call that anecdotal evidence, or as my professor used to say, "You are unencumbered by data."  Here's the deal - even if Dr. Ink sees thousands of patients in the grand scheme of things, she does not have data. Speaking of data, we need to talk about some statistical terms. I'll let you do your own research so that you better understand things like confidence intervals. Which is the range of values within which we are confident that a true effect exists. For example, if a study finds a treatment has an effect size of 0.5 with a 95% confidence interval of 0.2 to 0.8, this tells you with 95% confidence, the true effect size is between 0.2 and 0.8. Got it.  Okay. Bottom line, a more narrow confidence interval suggests more accuracy. But seriously, if you've ever read a medical study, they talk this way. So if you're going to do your own research, you really do need to understand statistics. You  need to understand P values, which tells you if a result is statistically significant. Very generally speaking, a P value should be below 0.05. But even that doesn't mean that there's practical significance. So when you look at a P value, ask yourself if it even really matters. Class isn't over yet. Let's talk about the power of a meta analysis, and I'm not talking about meta the Facebook platform that could get me censored. I'm talking about combining lots of smaller studies from multiple different sources so that the statistical power is increased and bias is decreased. They aren't perfect and they don't even prove causality, and that's our next term. Just because someone used blue ink and their hair fell out, doesn't mean the blue ink caused their hair to fall out. Remember that. Okay, now that class is over, we need to go to the lab. And I'm talking about the other meta, and that is Facebook or your social media platform of choice. And listen, I'll be honest, I am grieved because you can say what you want about doctors, but I have been around a lot of doctors my whole adult life, and with a few exceptions, nearly all of them are trustworthy and care so deeply about their patients. But somewhere along the way, their expertise has been replaced. And, hold on, just hear me out. There are some real world examples. One of my Facebook friends, and I don't even remember who shared something medical from someone I will not name because I don't even know her, but I did investigate a little bit because the claim she was making was clearly erroneous and it was being shared widely.  Here's what I found. She has 458 Facebook friends and describes herself as a wife and mother with a green thumb. But wait, there's more. She's a biohacker. Always learning. And claims, "I can help you be healthy." Hey, that's my gig.  Her previous jobs included food and beverage manager at a major hotel chain as well as a casino worker.  She's giving widely shared medical advice. I didn't even know what a biohacker was, so I did my own research and Googled it. It's do it yourself, biology.  But she wasn't sharing biology. She was sharing blatant medical advice, albeit incorrect everything from vaccines to cancer treatment. So next time you see anything that's medical advice, check the source,  no source, then don't share it.  If you haven't hung up on me yet, let's keep going and talk about cough CPR. I mean, you wanna help someone, right? If they're home alone and they're having a heart attack, they should cough. This started circulating social media in 1999, and I guess Facebook kept coughing because recently it was resurrected. And listen, it's not true, and here's why it matters. If you're having a heart attack and you're home alone, you should dial 9 1 1 and take an aspirin. And if you're telling people to cough because you think it could help, I want you to think about this. Could it hurt? Is it true?  Do your own research and check your source. Lemme say that louder. Check your source. I did. And here's another one.  I saw someone share a post that was later edited to say they weren't giving medical advice, and they encouraged people to do their own research and come to their own conclusion.  But then they proceeded to talk about how something in particular is a cure for everything from cancer to covid, high cholesterol, diabetes. It's an anti-microbial agent against bacteria and viruses. It increases your immunity, protects you from heart disease, it's anti-inflammatory, and it treats autoimmune diseases and get this with no side effects.  Now, let me ask you a question. If there's really a drug that can do all of that, then why has Big Pharma not snatched it up off the shelves, patented it and made buckets of money from it?  That's a serious question. So I checked the source. The person giving/not giving medical advice has studied at a university and owns not one, but two businesses. One is an engraving business and the other is a handyman business.  I mean, you probably wouldn't listen to me about how to fix the hinges on your doors, but that ought to be a two-way street, and if you need something engraved, you're probably not going to go see a doctor.  But what if it's credible? You know, like a well-known TV doctor. Here's a post that's been going around for years  on Wednesday, which Wednesday? Who knows? Because there's no source. Dr. So-and-so, and I'm not even going to say the name, had a show on the fastest growing cancer in women thyroid cancer, and they said there was something called a thyroid guard that should be used during mammograms. And the post goes on to say, by coincidence, I had my yearly mammogram yesterday, and I felt a little silly, but I asked about the guard and sure enough, the technician had one in a drawer and I asked why it wasn't routinely used. Answer, I don't know. You have to ask for it. Well, if I hadn't seen the show, how would I have known to ask someone was nice enough to forward this to me? I hope you pass it on to your friends and family. Well, apparently a lot of people did that. Now, first of all, this one started in 2010. Second of all, Dr. So-and-so really only discussed dental x-rays, not mammograms in that particular episode. Why does it matter? I don't know. Do you think the truth matters? Do you think credibility matters? And to my fellow followers of Jesus, remember what Paul said to the Philippians, whatever is true,  I'm just asking you to push pause before you post. Do your own research, check the source.  And if there is no source, keep scrolling unless you can verify it's true.  I think it's time we had some straight talk about facts in medicine. I may wade into some controversial waters. There is one thing that's really being promoted right now as the cure all for everything. And one of my Facebook friends is passionate about this and post all kinds of sources that look very credible. They vary in age from 2015 to 2022. Some of them are in mice, some are in vitro, and there are a few case studies. You know what a case study is, right? It's a single circumstance that happened and got reported in the literature. For example, someone got a wart on their finger and they put baking powder on it, and the wart went away. So someone writes a paper about it so that everyone knows that this one time, this one thing happened. Now if I get a wart on my finger, I'm gonna use one of those little bandaid thingies, and if that doesn't work, I'm going to the dermatologist and having it frozen off with liquid nitrogen. Even though somebody somewhere put baking soda on their wart and it went away. Now, please don't think I'm being snarky. I want you to think critically because if you're going to do your own research, you need to be aware - it's complicated. Harvard Medical School calls it the Wild, Wild West of online cancer information, and we live in an information age. It's so available and with that comes responsibility.  And I'm passionate about this because it's dangerous. It's very dangerous. Think about it.  What if you posted something that was medical advice? Discouraging people to get treatment for a disease that can be deadly.  And they saw a lot of other people posting the same thing, so they thought it must be true and they ignored medical advice and had a bad outcome.  The erosion of expertise is dangerous. False claims about cancer treatments really rile me up,  and I've witnessed it firsthand. Patients who wanted to try drinking carrot juice instead of following the standard recommendations.  And it never worked. But listen, I think carrots are great for you. In fact, I think you should eat a variety of vegetables. A healthy diet promotes good health.  But if you need some shelves built in your closet, call a handyman. And if you get  cancer, please trust your doctor. I'm totally serious.  I hope I haven't offended you, and I hope you've learned a lot about how to do your own research, and I also hope you appreciate my sense of humor. I want you to share this with your friends and family. Let's get the word out. And definitely eat the carrots.   And instead of drinking juice, eat them whole because whole carrots are naturally healthy and healthy. Looks great on you.   The information contained in this podcast is for educational purposes only and is not considered to be a substitute for medical advice. You should continue to follow up with your physician or health care provider and take medication as prescribed. Though the information in this podcast is evidence based, new research may develop and recommendations may change

Uncertainty is a major feature of the modern world. We have unprecedented access to a connected network of global information that we must constantly parse, analyze, and decipher. This adds a relentless complexity that our brains did not evolve to handle and creates a Petri dish of self-induced stress. In this week's Only Human with Dr. Tony Kernpodcast, our host uses a personal fishing story to explore the ways that extra information and complexity creates stress even in places where we once felt peace. He also shares ways that uncertainty can be good for us by encouraging flexibility in our thinking and how we approach problems. Finally, he shares his four-step process to survive and thrive in a world of relentless uncertainty. There's a lot of information available out there—much of it unhelpful—but you don't want to miss these valuable insights.

"LUCHA Y SOLIDARIDAD" 8M EN 1908, 127 obreras textiles , mueren quemadas donde luchaban por salarios, dignos y mejores condiciones de trabajo.Como todos los años seguimos luchando en las calles por nuestros derechos. Miles de mujeres salieron de Congreso hacia Plaza de Mayo.Otra vez nuestros viejos! Siguen sufriendo el maltrato de este gobierno ,hoy más que nunca junto a nuestros abuelos! Continúan juntando firmas. Hoy se espera una jornada multitudinaria para acompañar a nuestros jubilados.Bahía Blanca nos necesita!Después del temporal que abrazo con la localidad, miles de personas perdieron todo, hasta ahora 16 fallecidos .La inundación dejó muchos destrozos materiales y necesita nuestra ayuda. Se estan realizando colectas para enviar a Bahia Blanca. Como siempre el pueblo Argentino Solidario mientras Bullrich, Petri y Milei solo van por una foto.► Suscribite a Radio Viral Comunitaria: https://www.youtube.com/@radioviralcomunitaria/?sub_confirmation=1▶ Seguinos en nuestras redes sociales:INSTAGRAM: https://www.instagram.com/radioviralcomunitaria/TWITCH: https://www.twitch.tv/RVCOMUNITARIASITIO WEB: https://radioviralcomunitaria.com/Ayuda al sostenimiento de nuestra radio https://www.mercadopago.com.ar/subscriptions/checkout?preapproval_plan_id=2c9380848fde7fc1018fdf91c7bf0074

Get ready for part two of my newest music mini-series where I will discuss the surprising similarities between Martin Luther and Johann Sebastian Bach. I will also discuss the potential origin of the modern conducting patterns we still use today and even the possible origins of the way that we notate rhythm from the Hebrew alphabet. Sit back, relax and EDIFY.Get a copy of my very first book "World War YOU" PAPERBACK and KINDLE: https://a.co/d/fYOAfDj EBOOK: https://books2read.com/u/mBAx6O Venmo me for support @Jorge-Mesa-11Join my Patreon to help support all of my EDIFYING future content along with some unique perks and exclusive content: http://www.Patreon.com/ThirdEyeEdifyCheck out the Third Eye Edify Website: http://thirdeyeedify.com Check out awesome Third Eye Edify Merch!:https://thirdeyeedify.creator-spring.com/ Check out my wife Petri's Amazing Podcast!: https://earthsidebirth.org/enter-podcast Do you Play Bass Guitar? Join my exciting new Bass Player University! https://jorgemesamusic.com/bassplayeruniversity Join my Telegram group: https://t.me/ThirdEyeEdify Check out my Linktree: https://linktr.ee/thirdeyeedify Please Like and Subscribe on Patreon, Substack, Bitchute, Rumble, YouTube and all major Podcast sites: #thirdeyeedifypodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Is your teen struggling in school, but you're hitting roadblocks trying to get them the support they need? The IEP (Individualized Education Program) process can be overwhelming—especially for minority parents facing additional challenges. In this episode, I sit down with Maria Davis-Pierre, a licensed mental health counselor, autism advocate, and founder of Autism in Black. Maria shares her personal journey navigating the special education system for her neurodivergent children and exposes the hidden biases that often prevent Black and minority children from getting the right diagnosis and accommodations. She also provides practical strategies for parents to advocate effectively, empower their teens, and navigate the IEP process with confidence.   WHAT YOU'LL LEARN IN THIS EPISODE The biggest mistakes parents make when advocating for their child's IEP—and how to avoid them Why Black and minority children are often mislabeled as behavioral problems instead of receiving proper support How to involve your teen in their IEP process and teach them self-advocacy skills The hidden biases in school support systems that every parent should know about 5 KEY TAKEAWAYS FOR PARENTS OF TEENS Know Your Rights – Understanding the IDEA (Individuals with Disabilities Education Act) is crucial for effective advocacy. Cultural Bias Exists – Many minority children are misdiagnosed or overlooked, making advocacy even more critical. Empower Your Teen – Teens who participate in their own IEP process develop stronger self-advocacy skills for the future. Leverage Their Strengths – Connecting accommodations to your teen's interests can make learning more engaging. Give Yourself Grace – The IEP process is challenging, but you are your child's best advocate.  

Fitchett joins Petri & Matt on the podcast. They discuss the heat between Fitchett and Sean, and tell some great stories.

In dieser Folge von Major League Elevator spricht Martin mit Joshua Petri, einem Experten für Digitalisierung und IoT in der Aufzugsbranche. Joshua ist Mitglied der Geschäftsleitung bei ELFIN Technology GmbH und geschäftsführender Gesellschafter der eleon data GmbH, die er 2021 gemeinsam mit seiner Frau gegründet hat.Das erwartet Sie in dieser Episode:Wie Joshua als Quereinsteiger in die Aufzugsbranche kamWarum Digitalisierung nicht nur ein Trend, sondern ein Muss für Wartungsbetriebe istDie größten Herausforderungen beim Aufbau eines neuen IoT-ProduktsWie Wartungsunternehmen von smarter Technologie profitieren könnenWarum Monitoring-Systeme die Zukunft der Aufzugswartung sindWie Joshua den Spagat zwischen Unternehmertum, Familie und seinen Hobbys meistertDie spannende Frage: Wem gehören die Aufzugsdaten eigentlichThemen und Keywords:Aufzüge, Digitalisierung, IoT, Innovation, Wartung, Technologie, Geschäftsmodelle, Kundenorientierung, Monitoring, Computer Vision, Produktentwicklung, Mittelstand, Effizienz, Datenbesitz, proaktive Wartung, Branchenentwicklung.Joshua teilt wertvolle Einblicke darüber:Wie Betreiber und Wartungsfirmen von smarter Technologie profitieren könnenWarum die Aufzugsbranche Innovationen dringend brauchtWelche Herausforderungen mittelständische Wartungsunternehmen habenWarum die Zusammenarbeit zwischen Herstellern und Wartungsfirmen entscheidend istWie sich der Fachkräftemangel auf die Branche auswirktWarum Fernüberwachung und Datenstandardisierung die Zukunft sindDu hast Feedback, Themen- oder Gästevorschläge? Du erreichst uns über: podcast@uns.gmbhMartin & Alexandra Reichl: https://www.linkedin.com/in/martin-reichl/https://www.linkedin.com/in/alexandra-reichl/UNS GmbH: https://www.uns-gmbh.dehttps://www.facebook.com/unsgmbh.aufzughttps://www.instagram.com/uns_gmbh/https://www.linkedin.com/company/uns-gmbh/

Axel Kicillof se refirió a Bahía Blanca: “Esto no es ningún castigo bíblico, ni una película de terror, sino que es producto del cambio climático. Es momento de dejar en claro que eventos como este hay que preverlos, estar preparados porque Bahía misma tiene registro reciente de situaciones que nunca se habían producido”.Mauricio Macri dijo: “No hay más remedio por más que lo entiendo a Milei que sentarse con Kicillof no sea agradable, pero no hay más remedio. No hay alternativa, puede hacerlo por sistema financiado, pero el Estado tiene que licitar, no hay otra”. “Hay que poner en valor un plan de obras hidráulicas en todo el país. En Neuquén hay un riesgo muy grande y una represa lo solucionaría. Hay que poner en marcha las obras que las tiene que hacer el Estado porque está en riesgo la vida de la gente”, agregó el ex presidente.Guillermo Francos aseguró: “No sé qué es lo que piensa el presidente Macri y cuales son las obras a las que se refiere. Cuando asumimos el país estaba destrozado económica y financieramente. En esa situación no se puede hablar de obra pública porque no hay plata. Con la reconstrucción del país veremos cuáles son los mecanismos para hacer las obras”.Patricia Bullrich sostuvo: “El gobierno ha hecho un aporte a la reconstrucción de la ciudad. El primer día mandó 10 mil millones de pesos. Otra cosa es cómo se reconstruye la vida de los ciudadanos. Sus casas, los negocios, estamos estudiando. Hemos pasado con Petri las necesidades que nosotros vemos en la calle. Lo pasamos al ministro de Economía y tiene que analizarse de acuerdo a las posibilidades que tenemos en el país”.En un video hecho con IA que subió Javier Milei a su cuenta de Instagram, un locutor afirma: “El mejor gobierno de la historia firmó el decreto que implica el acuerdo con el Fondo. donde por primera vez el fin del mismo es reparar el daño que la política le ha provocado a los ciudadanos vía el abuso del gasto público”.El diputado José Luis Espert dijo: “Yo fui a JXC, no había lugar con Patricia y qué iba a ir con la izquierda o el radicalismo. Lo menos malo era Larreta. No lo milité. Estuve con Larreta pero milité las ideas liberales. ¿Cuando hablé de otra cosa que no sea libertad? En la vida hace uno lo que quiere pero muchas veces lo que puede”.Noticias del miércoles 12 de marzo por María O'Donnell y el equipo de De Acá en Más por Urbana Play 104.3 FMSeguí a De Acá en Más en Instagram y XUrbana Play 104.3 FM. Somos la radio que ves. Suscribite a #Youtube. Seguí a la radio en Instagram y en XMandanos un whatsapp ➯ Acá¡Descargá nuestra #APP oficial! ➯ https://scnv.io/m8Gr 

El intendente de Bahía Blanca, Federico Susbielles, aseguró: “Destacar que el gobierno nacional ha hecho un gran despliegue y nosotros lo valoramos. El presidente ha estado pendiente del tema y la situación. Con un traslado a la provincia de 10 mil millones de pesos y una ayuda de las FFAA. Están en la ciudad el ministro Petri y la ministra Bullrich. Nosotros entendemos que como un primer pantallazo hablamos de más de 400 mil millones”.El ministro de Defensa, Luis Petri, sostuvo: “Sandra Pettovello está coordinando las acciones desde Buenos Aires y los 6 Hércules no hubieran salido sin la coordinación que hicimos desde Bahía blanca con Pettovello en Buenos aires. El presidente ha estado monitoreando todo el tiempo la situación. Estamos acá por instrucciones del presidente que ha estado en tiempo real en conocimiento de cada una de las acciones. Él suspendió todas las actividades y  lo que hizo fue abocarse a monitorear la situación de Bahía Blanca”.Petri se refirió a los dichos de Juan Grabois en contra del gobierno: “Lo que digan resentidos como Grabois, resentidos porque les cortaron las cajas yu dejaron de intermediar con los pobres. No nos vamos a detener un segundo”.Juan Grabois se refirió a Sandra Pettovello y a la ayuda del Gobierno Nacional por la catástrofe en Bahía Blanca como “una idiota además de una delincuente”: “A quien tenemos, a la señora Bullrich, al marido de Cristina Pérez. Ahí necesitan agua y alimentos, no necesitan una señora que juega a la mano dura y no resuelve nada y un imbécil que posa en aviones y sabe de logística menos que yo. Está ahí de ministro de Defensa por haber sido candidato a vice de Bullrich y por un manoteo de Milei a Macri. Gente incompetente que es una idiota además de una delincuente”.Axel Kicillof se refirió a la ayuda del Gobierno Nacional por la catástrofe en Bahía Blanca: “Argentinos y argentinas que no tienen, que no les sobra, que no tienen recursos en abundancia llamando y comunicándose para ver que pueden aportar porque ve que alguien la está pasando mal y lo necesita. Yo me permito decir que es una enorme refutación acerca del país que nos quieren vender”.Lilia Lemoine se refirió a la ausencia de Javier Milei en Bahía Blanca: “No creo que cambie la efectividad del trabajo del presidente estando o no estando. Hay que ver cuál es el mejor para que vaya, que va a ir a sacar barro con una pala. Puede generar, porque no todos son votantes nuestros, sin por ir Bullrich un par de locos la fueron a buscar”.Noticias del martes 11 de marzo por María O'Donnell y el equipo de De Acá en Más por Urbana Play 104.3 FMSeguí a De Acá en Más en Instagram y XUrbana Play 104.3 FM. Somos la radio que ves. Suscribite a #Youtube. Seguí a la radio en Instagram y en XMandanos un whatsapp ➯ Acá¡Descargá nuestra #APP oficial! ➯ https://scnv.io/m8Gr 

"If you're excellent at what you do, you've got to be paid like you're excellent." – Casey Brown  Ever wondered if you're truly getting paid what you're worth? In this unmissable episode of Scaling UP! H2O, we bring back Casey Brown, speaker, founder of Boost Pricing and author of the newly released Fearless Pricing. Known for her electrifying talks and actionable insights, Casey dives deep into how businesses can build confidence, charge their true value, and break free from the fear of pricing discussions.  From her journey as an engineer to becoming a pricing powerhouse, Casey's passion for helping businesses thrive shines through. Whether you're in sales, management, or leadership, this episode will leave you inspired and ready to tackle your next negotiation.   Highlights include:  The Psychology of Pricing: Why fear dominates most pricing conversations—and how to overcome it. Pricing Integrity: Learn how setting and sticking to fair, defensible prices can boost trust and long-term success. Handling Objections with Confidence: Proven strategies to turn pricing objections into opportunities. The "Hot Sauce" Analogy: Discover how to identify overlooked products or services that can deliver high profits with minimal pricing sensitivity. Unexercised Pricing Power: How to unlock hidden revenue by testing and refining your pricing strategy. Role-Playing for Success: How procedural memory and consistent practice can transform your sales team's confidence and results.  Bottom Line  This episode is your ultimate guide to fearless pricing, equipping you with the tools and mindset to boost profitability and set yourself apart from the competition. Don't miss the chance to learn from Casey's expertise and take your business to the next level!  Click play, take notes, and start commanding the value your business deserves. Don't let fear control your profits—listen now to gain the confidence and strategies you need to succeed. Stay engaged, keep learning, and continue scaling up your knowledge!    Timestamps    1:44 - Trace asks intriguing questions about the price of everyday items like gas and hot sauce to set the stage for a deeper discussion on pricing   02:23 - Events for Water Professionals   04:20 - Water You Know with James McDonald   05:35 - Interview with Casey Brown, speaker, founder of Boost Pricing, and the author of the newly released book ‘Fearless Pricing'   13:05 - How small discounts can devastate your bottom line  32:23 - Why debriefing every deal is critical for refining your pricing strategy  33:41 - The “Hot Sauce Analogy”  45:00 – Final Thoughts and Takeaways    Quotes  “We can't know, unless we try. The world is your Petri dish. “- Casey Brown  “The how is training and coaching and concepts; the why is rotted in the mission to help people who are excellent be paid like they're excellent.” - Casey Brown  “We can't fix pricing or profitability through calculation. We must address the biggest obstacle to success, which is FEAR.” - Casey Brown  “Pricing is generally the area of greatest fear and greatest discomfort.” - Casey Brown  “In absence of financial pricing integrity, unearned discounts hurt trust.” - Casey Brown  “The way to get comfortable doing something uncomfortable is to practice it.” - Casey Brown  "Every business has hot sauce and gasoline—products where pricing sensitivity varies drastically. Identify yours." – Casey Brown    Connect with Casey Brown  Phone: 614-679-7999  Email: casey@boostpricing.com   Website: www.Caseybrown.com    LinkedIn: https://www.linkedin.com/in/caseybrownboost/   Subscribe to Casey Brown's Newsletter: https://www.boostpricing.com/signup    Click HERE to Download Episode's Discussion Guide   Guest Resources Mentioned   Good to Great: Why Some Companies Make the Leap...And Others Don't by Jim Collins  They Ask You Answer by Marcus Sheridan  Outlive by Peter Attia  Essentialism by Greg McKeown  The Psychology of Money by Morgan Housel  Fearless Pricing by Casey Brown    Scaling UP! H2O Resources Mentioned  AWT (Association of Water Technologies)  Scaling UP! H2O Academy video courses  Submit a Show Idea  The Rising Tide Mastermind  363 Pricing Boost: Get Paid Well For Your Excellence with Casey Brown  The 7 Habits of Highly Effective People by Stephen R. Covey    Water You Know with James McDonald  Question: What is the conversion between parts-per-million and milligrams per Liter?   2025 Events for Water Professionals  Check out our Scaling UP! H2O Events Calendar where we've listed every event Water Treaters should be aware of by clicking HERE.

I am very excited to bring to you the first of a new music mini-series all about the rise of music and art in Germany/Austria and its extreme cultural implications which may or may not be true. This may be some of most dense work in a while so please get comfy. As I learned it, the rise of German Romanticism led to its ultimate demise at the beginning of the 20th century. I'm going to lay the groundwork for a rebuttal or two against that and so much more. Sit back, relax and EDIFY.Get a copy of my very first book "World War YOU" PAPERBACK and KINDLE: https://a.co/d/fYOAfDj EBOOK: https://books2read.com/u/mBAx6O Venmo me for support @Jorge-Mesa-11Join my Patreon to help support all of my EDIFYING future content along with some unique perks and exclusive content: http://www.Patreon.com/ThirdEyeEdifyCheck out the Third Eye Edify Website: http://thirdeyeedify.com Check out awesome Third Eye Edify Merch!:https://thirdeyeedify.creator-spring.com/ Check out my wife Petri's Amazing new Podcast!: https://earthsidebirth.org/enter-podcast Do you Play Bass Guitar? Join my exciting new Bass Player University! https://jorgemesamusic.com/bassplayeruniversity Join my Telegram group: https://t.me/ThirdEyeEdify Check out my Linktree: https://linktr.ee/thirdeyeedify Please Like and Subscribe on Patreon, Substack, Bitchute, YouTube and all major Podcast sites: #thirdeyeedifypodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Fr. Mitch welcome Fr. Thomas Petri, O.P. to discuss Ash Wednesday and the ways we can make the Lenten season more meaningful.

3/4/25: Sen. Paul Mark: federal cuts & the future of West-East Rail. Rich Michelson w/ UMass prof, translator & poet John Hennessy: poetry from Ukraine & “Exit Garden State.” Atty John Pucci: DOJ's new mission: vengeance & retribution. Paul Newlin: "Watermelon Wednesdays" w/ violinist Tim Kliphuis (Django Jazz) & Petri Prauda of the Finnish band Frigg.

Mikä on uusi käsky, jonka Jeesus antoi seuraajilleen? Mistä uskossa, pelastuksessa ja Jeesuksen seuraamisessa on kysymys? Petri Välimäen opetus Lahden Kohtaamispaikassa 2.3.2025. Käsittelyssä on 1. Joh.2

Kiinteistösijoitusyhtiö Investors Housen toimitusjohtaja Petri Roininen arvioi, että monissa kiinteistötyypeissä on nyt ostajan markkinat. Mutta eivät liikkeellä ole pelkästään myyjät. ”Korkotason laskun myötä niihin kohteisiin, joissa on hyvä, pitkä, ennustettava kassavirta kohdistuu kotimaista ja ulkomaista kysyntää tosi vahvasti. Maailma on täynnä rahaa, joka etsii sijoitustuotteita”, Roininen sanoo.”Joka kiinteistösektorilla toimii, nyt on oikea hetki toimia.”Viime vuonna Roinisen johtama Investors House toimi etenkin kahdessa isossa kaupassa. Se myi omistamansa kolmanneksen Jyväskylän Kukkulan Kehitys -yhtiöstä Ovarolle ja osti kolmanneksen samalla alueella toimivasta Apitare-yhtiöstä. Kaupat muokkasivat Investors Housea melkoisesti. Riskikkäämmästä hankekehityksestä se siirtyi melkein joukkolainan tylsyyteen.Apitare omistaa vajaat 18 000 neliömetriä entisiä sairaalakiinteistöjä, jotka se on vuokrannut vuoteen 2041 ulottuvalla vuokrasopimuksella Keski-Suomen hyvinvointialueelle. Vuokralainen vastaa kiinteistöjen ylläpidosta ja korjauksista, ja vuokra on sidottu indeksiin. Kaksi kolmasosaa Apitaresta tuo Investors Housen tulokselle ja kassavirralle vakaan perustan.Apitaren lisäksi Investors Housella on yksittäisiä kiinteistösijoituskohteita ja viime aikoina kehnonlaisesti pärjännyttä palveluliiketoimintaa. Viime vuoden tulokseen palveluliiketoiminnasta tehtiin isot alaskirjaukset, ja sitä pannaan kuntoon uuden segmenttijohtajan johdolla.Yhteistyössä: Investors House

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

Hacer click aquí para enviar sus comentarios a este cuento.Juan David Betancur Fernandezelnarradororal@gmail.comHabía una vez en Venecia un pescador llamado orio es una ciudad de secretos y sombras, de amores imposibles y promesas rotas. En el laberinto de sus callejuelas, hay un lugar donde los susurros del pasado aún resuenan: el Sotoportego del Preti, un pasaje cubierto cerca de la iglesia de Santa Marina. En su muro de piedra desgastada, un ladrillo rojo en forma de corazón destaca entre los demás, un testimonio silencioso de un amor condenado: el amor de Orio y Menusina.Orio era un pescador veneciano, humilde y solitario, que pasaba sus días entre las aguas de la laguna y los mercados de Rialto. Había perdido a su familia en una tormenta y, desde entonces, su única compañía era el mar. Aunque muchas mujeres lo miraban con interés, él soñaba con un amor que sintiera en lo más profundo de su alma.Una noche de otoño, mientras regresaba en su góndola bajo la luz de la luna, vio a una mujer sentada en los escalones de piedra del Sotoportego del Preti. Su cabello negro caía en suaves ondas sobre sus hombros y su piel era tan pálida como la luz reflejada en los canales. Vestía un elegante traje de terciopelo azul oscuro y sus ojos brillaban como dos estrellas atrapadas en la penumbra.—¿Estás perdida, madonna? —preguntó Orio, deteniéndose junto a ella.La mujer alzó la vista y lo observó con tristeza.—No estoy perdida, pero tampoco soy libre —respondió en un susurro—. Mi nombre es Menusina.Orio quedó hechizado por su belleza y misterio. Desde aquella noche, regresó al mismo lugar y encontró a Menusina esperándolo. Hablaban durante horas, paseaban juntos por los canales y, poco a poco, el pescador se enamoró de ella.Finalmente, le pidió que fuera su esposa.Menusina aceptó, pero con una única condición:—Cada viernes al anochecer, debo desaparecer hasta el amanecer. No puedes seguirme, no puedes preguntarme a dónde voy ni intentar descubrir mi secreto. Si lo haces, me perderás para siempre.Orio, cegado por el amor, juró que respetaría su deseo.Durante meses, vivieron en una felicidad aparente. Menusina llenó la vida de Orio de amor y alegría, y él creyó haber encontrado en ella su destino. Sin embargo, cada viernes al caer la noche, su esposa desaparecía sin dar explicaciones.Los vecinos murmuraban.—No es una mujer como las demás —decían—. Algo oscuro la acompaña.La duda comenzó a roer el corazón de Orio. ¿Qué le ocultaba Menusina? ¿Era realmente suya, o pertenecía a otro mundo?Una noche de viernes, incapaz de resistir más la incertidumbre, decidió seguirla.Siguiendo las sombras de Venecia, Orio vio a Menusina dirigirse de nuevo al Sotoportego del Preti. Allí, bajo la tenue luz de un farol, se arrodilló frente a un ladrillo rojo en forma de corazón incrustado en la pared de piedra.Orio, oculto entre las sombras, contuvo la respiración mientras su esposa apoyaba las manos sobre la piedra y susurraba palabras en un idioma desconocido.De pronto, el ladrillo comenzó a brillar con un resplandor carmesí. La piedra pareció temblar, y una sombra oscura emergió de la pared, como si algo aguardara desde el otro lado.—Has vuelto, Menusina… El pacto no puede romperse.La voz no era humana. Era profunda, gutural, como el eco de un pozo sin fondo.Orio sintió un escalofrío recorrerle la espalda.En ese momento, Menusina giró y lo vio.Su rostro se llenó de desesperación.—¡No! ¡Orio, me seguiste! —gritó con angustia—. ¡Has roto tu promesa!La sombra creció y se extendió hacia ella.—Él ha descubierto la verdad. Ahora, tu dest

CONTÁCTAME POR WHATSAPP https://wa.me/message/VLBJNM7KBBQDC1 DÉJAME CONOCER TU CASO HACIENDO CLIC AQUÍ https://nelsonarturopsicologo.com/superar-ansiedad Así puedes subir la serotonina de manera natural; y es que, el acelerado ritmo de vida del siglo XXI ha conducido a una búsqueda constante de elementos que faciliten el tener una vida más tranquila, generalmente, bajar los niveles de ansiedad y estrés, poder dormir mejor, son cosas que sin duda se puede que nos haga falta, y para ello es necesario tener niveles estables de serotonina. Este neurotransmisor es el encargado del buen funcionamiento del cerebro aparte de las células nerviosas, permitiendo nivelar las emociones. Teniendo en cuenta estos efectos, hoy te contaremos como regular los niveles de serotonina mediante el suplemento 5HTP. ¿QUÉ ES EL 5 HTP? El 5 hidroxitriptófano popularmente conocido como 5HTP es un precursor de la serotonina, es decir, un elemento vital en la formación de este neurotransmisor. Compra el 5HTP https://iherb.co/Hct3Hehe Existen diversos métodos para su obtención, siendo el más común lógicamente la ingesta de alimentos ricos en él, como la carne de pavo, el pollo, los frijoles, la carne res y bananos; sin embargo, dado los hábitos de alimentación actuales, se ha vuelto complejo añadir alguno de los alimentos anteriormente mencionadas a la dieta diaria, por lo que, una opción para su obtenerlo es mediante la suplementación. ¿POR QUÉ NO SE CONSUME SEROTONINA DE FORMA DIRECTA? Al ser un neurotransmisor que es producido naturalmente por el cuerpo humano, la serotonina es muy diferente a cualquier consumible ya sea por ingesta o por medio intravenosos, la serotonina es incapaz de superar dos barreras de nuestro organismo, la que produce el ácido gástrico, y la producida por la red hematoencefálica. LA DOSIS IDEAL DE 5HTP Se recomienda generalmente. consumir alrededor de 300 mg al día de 5HTP, siempre y cuando la persona tenga características promedio, lo que permitirá producir la serotonina necesaria para contrarrestar afectaciones negativas, como la ansiedad, la falta de sueño, mientras permite gestionar de mejor forma el estrés y regular el apetito. Como ya se ha mencionado en entregas pasadas, para dosificar eficientemente cualquier suplemento es necesario tener presente la estatura, el peso y el problema que se quiere combatir; para mencionar una cosa, puedes contactar con nosotros en Libre de Ansiedad ya que podemos asesorarte si así lo requieres. Es importante señalar que los efectos no son inmediatos, ya que se estima que el 5HTP empieza a tener un impacto significativo en el organismo de una persona entre una a tres semanas de haber empezado la ingesta, ten en cuenta que, en el caso de este potenciador de serotonina, si bien existen testimonios sobre una supuesta efectividad inmediata, suelen ser casos aislados que no representan el efecto normal del suplemento. ENLACES DE INTERÉS (H3) TRIPTÓFANO Y 5HTP PARA CURAR LA ANSIEDAD Y OTROS TRASTORNOS (https://nelsonarturopsicologo.com/triptofano-y-5htp-para-curar-la-ansiedad-y-otros-trastornos/) 7 FORMAS DE SUBIR LA SEROTONINA NATURALMENTE, Y REDUCIR LA ANSIEDAD, LA DEPRESIÓN EL ESTRÉS Y SENTIRTE MEJOR (https://nelsonarturopsicologo.com/7-formas-de-subir-la-serotonina-naturalmente/) REFERENCIAS Boer, J., & Westenberg, H. (1990). Behavioral, neuroendocrine, and biochemical effects of 5-hydroxytryptophan administration in panic disorder. Psychiatry Research, 31, 267-278. https://doi.org/10.1016/0165-1781(90)90096-N. Handley, S., & McBlane, J. (2005). 5HT drugs in animal models of anxiety. Psychopharmacology, 112, 13-20. https://doi.org/10.1007/BF02247358. Maffei, M. (2020). 5-Hydroxytryptophan (5-HTP): Natural Occurrence, Analysis, Biosynthesis, Biotechnology, Physiology and Toxicology. International Journal of Molecular Sciences, 22. https://doi.org/10.3390/ijms22010181. Lesch, K., Bengel, D., Heils, A., Sabol, S., Greenberg, B., Petri, S., Benjamin, J., Müller, C., Hamer, D., & Murphy, D. (1996). Association of Anxiety-Related Traits with a Polymorphism in the Serotonin Transporter Gene Regulatory Region. Science, 274, 1527 - 1531. https://doi.org/10.1126/science.274.5292.1527.

Please join me for a look into just how much programming occurs in the wide world of SPORTS. With the recent events taking place in hockey and on the world stage I was immediately reminded of the now legendary "Miracle on Ice" when the USA played against Russia and won in 1980. Sit back, relax and EDIFY.Get a copy of my very first book "World War YOU"PAPERBACK and KINDLE: https://a.co/d/fYOAfDjEBOOK: https://books2read.com/u/mBAx6OCheck out the Third Eye Edify Website:http://thirdeyeedify.comJoin my Patreon to help support all of my EDIFYING future content along with some unique perks and exclusive content: http://www.Patreon.com/ThirdEyeEdifyGet a premium Rokfin membership to support me PLUS get access to all of the other incredible content on their platform:https://www.rokfin.com/ThirdEyeEdifyCheck out awesome Third Eye Edify Merch!:https://thirdeyeedify.creator-spring.com/Check out my wife Petri's Amazing new Podcast!:https://earthsidebirth.org/enter-podcastDo you Play Bass Guitar? Join my exciting new Bass Player University! https://jorgemesamusic.com/bassplayeruniversityJoin my Telegram group:https://t.me/ThirdEyeEdifyCheck out my Linktree:https://linktr.ee/thirdeyeedifyPlease Like and Subscribe on Patreon, Rokfin, Bitchute, Rumble, YouTube and all major Podcast sites: #thirdeyeedifypodcast  Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Fest der Kathedra Petri Lesung aus dem ersten Brief des Apostels Petrus (1 Petr 5, 1-4) Aus dem heiligen Evangelium nach Matthäus (Mt 16, 13-19)   Missa Universalis: Kyrie   Samstag, 22. Februar 2025 ________________________ Lesejahr: C I Sprecher:  Marek Gierszał, Thomas Kycia Gesang: Dominikanerschola Ave Florum Flos Berlin (Missa Universalis: Kyrie) Musik: Szymon Jakubowski, Dawid Kusz OP & Traditional (Missa Universalis: Kyrie) Jingle: Haroun Sweis  Foto: P. Adam Rokosz OP Grafik: Danuta Mikeska-Kycia Projektbetreuung: Thomas Kycia Kontakt: info@bibeltogo.de Mehr auf: https://bibeltogo.de Instagram: https://www.instagram.com/bibel_to_go/  Facebook: https://www.facebook.com/BibeltogoPodcast Wie findest du diesen Podcast? Bewerte ihn und schreib uns einen Kommentar auf der Plattform, auf der du ihn gerade gehört hast oder schreib uns eine Mail an info@bibeltogo.de.  Erzähle von diesem Podcast deiner Familie, Freunden und Verwandten! So werden noch mehr Menschen Gottes Wort hören können. _________________   Bibel to go. Die Lesungen des Tages Die Lesungen und das Tagesevangelium Das heutige Evangelium vorgelesen Evangelium Tag für Tag Bibel zum Hören Tageslesungen Bibel online Jahreskreis

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

Project Audion brings you "The New Adventures of Sherlock Holmes," recreating an episode which has remained unheard for eighty years. There's no more famous detective, real or imagined, than Holmes. His creator, Arthur Conan Doyle, pretty much defined the mystery-detective story, and 138 years later Holmes and Watson are still part of popular culture. In 1945, Basil Rathbone and Nigel Bruce portrayed them weekly on the Mutual Radio network. Our selected script (which aired only once, on January 15, 1945) "The Curse of Doctor Anselmo," carries its own mystery - the secret identity of the man who co-wrote it pseudonymously. Will you discover whodunnit? Will Holmes fall under Anselmo's curse? Will the Petri family take the time to bring you good wine? All will be revealed in this delightful half hour audio drama, faithful to the original series' sound and spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices

Project Audion brings you "The New Adventures of Sherlock Holmes," recreating an episode which has remained unheard for eighty years. There's no more famous detective, real or imagined, than Holmes. His creator, Arthur Conan Doyle, pretty much defined the mystery-detective story, and 138 years later Holmes and Watson are still part of popular culture. In 1945, Basil Rathbone and Nigel Bruce portrayed them weekly on the Mutual Radio network. Our selected script (which aired only once, on January 15, 1945) "The Curse of Doctor Anselmo," carries its own mystery - the secret identity of the man who co-wrote it pseudonymously. Will you discover whodunnit? Will Holmes fall under Anselmo's curse? Will the Petri family take the time to bring you good wine? All will be revealed in this delightful half hour audio drama, faithful to the original series' sound and spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices

Please come spend a few Edifying moments with me as I piece together two or three events that have unfolded in recent days and why I believe it is looking a LOT more like ANIMAL FARM around here lately. Sit back, relax, EDIFY and also....Make Orwell Fiction Again!!Get a copy of my very first book "World War YOU"PAPERBACK and KINDLE: https://a.co/d/fYOAfDjEBOOK: https://books2read.com/u/mBAx6OCheck out the Third Eye Edify Website:http://thirdeyeedify.comJoin my Patreon to help support all of my EDIFYING future content along with some unique perks and exclusive content: http://www.Patreon.com/ThirdEyeEdifyGet a premium Rokfin membership to support me PLUS get access to all of the other incredible content on their platform:https://www.rokfin.com/ThirdEyeEdifyCheck out awesome Third Eye Edify Merch!:https://thirdeyeedify.creator-spring.com/Check out my wife Petri's Amazing new Podcast!:https://earthsidebirth.org/enter-podcastDo you Play Bass Guitar? Join my exciting new Bass Player University! https://jorgemesamusic.com/bassplayeruniversityJoin my Telegram group:https://t.me/ThirdEyeEdifyCheck out my Linktree:https://linktr.ee/thirdeyeedifyPlease Like and Subscribe on Patreon, Rokfin, YouTube, Bitchute, Rumble and all major Podcast sites: #thirdeyeedifypodcast Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

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

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