Podcasts about poison pen

Reel Britannia - a very British podcast about very British movies...with just a hint of professionalism.     This week, vintage British drama as a tranquil English village is torn apart by anonymous letters accusing residents of scandalous misdeeds. Suspicion and paranoia escalate, leading to tragic consequences, as the community struggles to uncover the culprit and restore harmony.     Episode 166 - Poison Pen (1939)   All episodes at: https://directory.libsyn.com/shows/view/id/reelbritannia     Poison Pen (1939) turns the tranquil charm of an English village into the backdrop for a juicy mystery! The drama kicks off when anonymous letters, brimming with scandalous gossip, start popping up in mailboxes. These “poison pen” notes stir up chaos, revealing secrets (and maybe even lies) that set tongues wagging and suspicions soaring. Reverend Rider (Reginald Tate) and his sister Mary (Flora Robson) do their best to soothe the panic, encouraging everyone to rise above the drama. But resisting the intrigue proves harder than it seems! Even Rider's daughter Ann (Ann Todd) isn't spared, with her fiancé David (Geoffrey Toone) caught in the crossfire. The letters keep coming, fanning the flames of mistrust and upending friendships. In a shocking twist, Connie Fateley (Catherine Lacey), a shy seamstress, is wrongfully accused of writing the letters. Heartbreaking consequences follow, but the mystery deepens as the letters continue, leaving the village reeling and desperate for answers. Though dark moments linger, the story keeps you hooked as it explores themes of trust, community, and the havoc wreaked by unchecked gossip. Beneath the mystery is a compelling cautionary tale about the impact of words and the resilience of human connections. With its gripping twists, Poison Pen delivers a captivating mix of tension, drama, and a reminder to think twice before judging others—wrapped up in the atmosphere of classic British cinema!       "So last night wasn't enough for you, you little Jezebel?"   This and previous episodes can be found everywhere you download your podcasts Follow us on Twitter @rbritanniapod    Thanks for listening Scott and Steven      

“Hate” has four letters, but so does “love”; “lying” has five letters, but so does “truth.” Write wisely. 

We caught up with one of our favorite people, Queen Herawin and talked about her new album Awaken The Sleeping Giant. Breeze Brewin and Poison Pen also stopped by for a few. This was a fun and dope build!

Susan has received over 500 poison pen letters since 2020 and still doesnt know their source...

Today, we're about to peel back the layers of the Circleville Letters mystery, where every envelope holds a new fear.But who was behind these sinister letters? Share your guesses.Get all the crime in half the time! Watch True Crime Recaps on Facebook, TikTok, YouTube or Snapchat! Follow us on Instagram and Twitter. New episodes weekly!

BANG! @southernvangard radio Ep430! Three different bourbons at our disposal during the recording of Southern Vangard Radio can only mean one thing - the show will be outstanding. The good homie E aka WEST COAST E DURRTY dropped in for his once in a few years visit and did not disappoint on arrival - the brother showed up with a NICE bottle of Heaven Hill. Good times were had alongside good music being played made for an outstanding night. This week is also the launch of our Patreon - www.patreon.com/southernvangard - which will be our Twitch Video, and Audio streams will be hosted every week, as well as other exclusives and more treats that we have in the SV stash. Support your guys if you can, and if you can't, that's ok to - regardless YOU WAAAAALCOME!!! #SmithsonianGrade #WeAreTheGard // southernvangard.com // @southernvangard on all platforms #hiphop #undergroundhiphop #boombap -|-|-|-|-|-|-|-|-|- Recorded live March 2, 2025 @ Dirty Blanket Studios, Marietta, GA southernvangard.com @southernvangard on all platforms #SmithsonianGrade #WeAreTheGard twitter/IG: @southernvangard @jondoeatl @cappuccinomeeks -|-|-|-|-|-|-|-|-|- Pre-Game Beats - Figub Brazlevic “Southern Vangard Theme” - Bobby Homack & The Southern Vangard All-Stars Talk Break Inst. - “Cane” - Black Milk & Fat Ray "Bloodlust” - Shylow “Dope Peddling" - Stu Bangas and Recognize Ali ft. AFRO & Verbal Kent "Pulse Points” - Henny L.O. & Ewonee “The Undeniable” - FuHandz ft. Eddie Kaine “It's All Love” - Klicko, Nyce Da Future & Eto “Saucy Bounce” - Sankofa x Burnt Bakarak “Quaraczech” - Primo JAB & Uncle Fester Talk Break Inst. - “Talcum” - Black Milk & Fat Ray “Queens” - Jus Daze (prod. Brutal Caesar, cuts Tone Spliff) “Power” - Queen Herawin ft. Ke Turner & DJ Deception (prod. B-Money) "I'm The Mutha Fuckin Man" - Shylow ft. Skanks The Rap Martyr “Track 001” - TROY & FAN RAN “Out For The Win” - Lunden Benard, Dillion, JFK (prod. Statik Selektah) “What Then” - FuHandz ft. Guilty Simpson & Kawshus “Ascension” - K-Rec & Moka Only ft. Kurious “Brixton Bruddah” - Don Rattray & Twit One Talk Break Inst. - “Elderberry” / “Franky Lymon” - Black Milk & Fat Ray "Gluttony” - Queen Herawin ft. Breeze Brewin (prod. by Neff Beatz) “El Rey” - Jay Da Realest (prod. DJ Mike C) “The Meet Up (Ghost & Ray)” - Klicko, Nyce Da Future & Eto “Dont Be Sorry Be Careful” - Willie The Kid X V Don “Running Scared” - Fastlife, Madhattan & Spanish Ran ft. Pinnland “Been About That” - IamGAWD & Ill City ft. The Lil People “Action Figure 4” - Action Figures Of Speech “Arrogant” - Queen Herawin ft. Poison Pen (prod. by Johnny Slash) “Children Cryin'” - FuHandz ft. UFO Fev & Bub Styles Talk Break Inst. - “Stash” - Black Milk & Fat Ray

In this episode of The Perry Pod, I look at Season 5 Episode 20: The Case of the Poison Pen Pal This episode includes: Law Library: Child Witness Plot: Episode plot Trivia: Canneries, Everett Sloan, and Perry in Catalina The Theme: Vulnerability The Perry Proverb: "If it's the truth..." The Water Cooler: Deleted scenes, the Paul Prompt from the last ep Contact me at theperrypod@gmail.com. Keep on walking that Park Avenue Beat!

This month is about crafting horror stories with author Dane Cobain (no relation to Kurt Cobain, we asked). Author of supernatural thrillers, crime, and horror - including his recent factory farm horror, "Meat" - we talk about inspiration, writing, horror books v. movies, and even archeology in space! Join us for a fun dive into the world of writing chills and thrills.

Indie author J.J. Green joined me for a chat about her upcoming book "Someone To Blame", the psychology of communities, the importance of place and more. Enjoy! If you like what we do, you might consider buying us a coffee. You can do so here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/booklovercom⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or here: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://ko-fi.com/bookcompanion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ You can also support us via Paypal: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.paypal.com/paypalme/bookcompanion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or via Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/bookcompanion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us: Web: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://book-lovers-companion.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/book_companion⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/ez.fiction.7/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/book_companion/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UC6vyAyrh3zzsxNeexfyU0uA⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Feedback is always welcome: bookcompanioncontact@gmail.com Music: English Country Garden by Aaron Kenny Video Link: https://youtu.be/mDcADD4oS5E

We read the papers so you don't have to. Today: Out of the frying pan. The Papers can't decide how they feel about Starmer's big speech but the tabloids love his one gaffe. Don't call it a comeback. The Sun reveals that Philip Schofiled is returning to primetime TV but does anyone want him? Oh yes, wait a minute Mr. Postman. The Telegraph investigates the mysterious poison pen letters hounding a remote Yorkshire village.  Miranda Sawyer is joined by author Emma Kennedy and comedian Chantal Feduchin-Pate. Come and see us LIVE at the Cheerful Earful podcast festival on 12 Oct. Tickets here! Support Paper Cuts and get mugs, t-shirts, extended ad-free editions and access to our live stream on the 26th of September: back.papercutsshow.com Follow Paper Cuts: • Twitter: https://twitter.com/papercutsshow • Instagram: https://www.instagram.com/papercutsshow • TikTok: https://www.tiktok.com/@papercutsshow • Threads: https://www.threads.net/@papercutsshow Illustrations by Modern Toss https://moderntoss.com  Written and presented by Miranda Sawyer. Audio production: Simon Williams. Production. Liam Tait. Design: James Parrett. Music: Simon Williams. Socials: Kieron Leslie. Managing Editor: Jacob Jarvis. Exec Producer: Martin Bojtos. Group Editor: Andrew Harrison. PAPER CUTS is a Podmasters Production Podmasters.co.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this episode of Currently Reading, Kaytee and Meredith are discussing: Bookish Moments: reading routines and meeting local authors Current Reads: all the great, interesting, and/or terrible stuff we've been reading lately Deep Dive: the journey from season one to season seven of Currently Reading The Fountain: we visit our perfect fountain to make wishes about our reading lives Show notes are time-stamped below for your convenience. Read the transcript of the episode (this link only works on the main site) .  .  .  .  .  1:27 - Our Bookish Moments of the Week 5:49 - Worst Case Scenario by T.J. Newman 6:17 - Changing Hands bookshop 6:18 - Poison Pen bookshop 9:58 - Our Current Reads 10:11 - Five Strangers by E.V. Adamson (Meredith) 11:55 - Novel Memphis 15:56 - Bits and Pieces by Whoopi Goldberg (Kaytee) 16:03 - Libro.fm 18:13 - Finding Me by Viola Davis 19:56 - The Memory of Animals by Claire Fuller (Meredith) 28:42 - Dungeons and Drama by Kristy Boyce (Kaytee) 33:46 - One, Two, Buckle My Shoe by Agatha Christie (Meredith) 38:18 - The Silence of Bones by June Hur (Kaytee) 39:53 - Garcia Street Books 41:13 - The Noh Mask Murder by Akimitsu Takagi 41:58 - Deep Dive: The Journey of Currently Reading 46:40 - Currently Reading Patreon  56:13 - Meet Us At The Fountain 57:06 - We wish to grow the listenership of the Big Show with YOUR help! (Meredith AND Kaytee) *Help us to grow our listenership by sharing a link to the podcast with at least one readerly friend (or maybe a non-readerly friend who WANTS to get into books but doesn't know where to start). https://podcasts.apple.com/us/podcast/currently-reading/id1435363675 Support Us: Become a Bookish Friend | Grab Some Merch Shop Bookshop dot org | Shop Amazon Bookish Friends Receive: The Indie Press List with a curated list of five books hand sold by the indie of the month. August's IPL comes to us from The King's English Bookshop in Utah! Love and Chili Peppers with Kaytee and Rebekah - romance lovers get their due with this special episode focused entirely on the best selling genre fiction in the business.  All Things Murderful with Meredith and Elizabeth - special content for the scary-lovers, brought to you with the behind-the-scenes insights of an independent bookseller From the Editor's Desk with Kaytee and Bunmi Ishola - a quarterly peek behind the curtain at the publishing industry The Bookish Friends Facebook Group - where you can build community with bookish friends from around the globe as well as our hosts Connect With Us: The Show: Instagram | Website | Email | Threads The Hosts and Regulars: Meredith | Kaytee | Mary | Roxanna Production and Editing: Megan Phouthavong Evans Affiliate Disclosure: All affiliate links go to Bookshop unless otherwise noted. Shopping here helps keep the lights on and benefits indie bookstores. Thanks for your support!

Se o Boia fosse uma música (Essa semana!) seríamos -Por Probar el Vino y el Agua Salada dos Hermanos La Maquina de Hacer Pajaros. No episódio 265, Bruno Bocayuva e Júlio Adler construíram uma conexão direta com Montevidéu para papear com Pablo Zanocchi- editor do dukesurf.com - sobre sudaca e redondezas, Taiti, Tóquio e outros personagens da Casa de Papel. A trilha foi daquele jeito! Pablo escolheu Brindis por Pierrot do Uruguaio (como Zanocchi!) Jaime Roos, Bruno foi de Australia, com Poison Pen dos Hoodoo Gurus (que estão chegando ao Brasil!) e, finalmente, Julio foi mesmo de Mundo Livre S.A. e Sob O Calçamento (Se Espumar E Gente), celebrando os 30 anos de lançamento do petardo Samba Esquema Noise (Tocam no Circo Voador dia 24!)

Chino XL passed away at the age of 50 last week. So we pushed back the others to celebrate the career and artistry of one of the most respected names in the New York underground.TIMESTAMPS:Weekly Music Roundup - (0:48)Ben:JPEGMAFIA - I LAY DOWN MY LIFE FOR YOUQ Da Fool - King GeorgeCharlie:Elsy Wameyo - Saint SinnerBadbadnotgood - Mid SpiralSamm Henshaw - For Someone Somewhere Who Isn't UsMoses Sumney - SophcoreCecily - Awakening Pt. IICaoilfhionn Rose - ConstellationsEssa & Pitch 92 - ResonanceCruza - CruzifedMeshell Ndegeocello - No More Water: The Gospel of James BaldwinTopic Intro/Ben's Research House - (13:01)Here to Save You All - (20:31)I Told You So - (33:17)Poison Pen - (40:15)Ricanstruction: The Black Rosary - (47:18)Lighter Note - (1:06:23) Thanks for listening. Below are the Social accounts for all parties involved.Music - "Pizza And Video Games" by Bonus Points (Thanks to Chillhop Music for the right to use)HHBTN (Twitter & IG) - @HipHopNumbers5E (Twitter & IG) - @The5thElementUKChillHop (Twitter) - @ChillhopdotcomBonus Points (Twitter) - @BonusPoints92Other Podcasts Under The 5EPN:"What's Good?" W/ Charlie TaylorIn Search of SauceBlack Women Watch...5EPN RadioThe Beauty Of Independence

Paula received a mysterious poison pen letter but, with some ingenuity, figured out who the sender was. Callers discuss the current inheritance tax laws. Sam runs a small UK book publishing company but keeps getting books he sent to Ireland returned to him in the post.

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
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       Hancock's Half Hour was a BBC radio comedy, and later television comedy series, broadcast from 1954 to 1961 and written by Ray Galton and Alan Simpson. The series starred Tony Hancock, with Sidney James; the radio version also co-starred, at various times, Moira Lister, Andrée Melly, Hattie Jacques, Bill Kerr and Kenneth Williams.   The final television series, renamed simply Hancock, starred Hancock alone. Hancock played an exaggerated and much poorer version of his own character and lifestyle, Anthony Aloysius St John Hancock, a down-at-heel comedian living at the dilapidated 23 Railway Cuttings in East Cheam. The series was influential in the development of the situation comedy, with its move away from radio variety towards a focus on character development. The radio version was produced by Dennis Main Wilson for most of its run. After Main Wilson departed for his television career, his role was taken by Tom Ronald. The television series was produced by Duncan Wood. The distinctive tuba-based theme tune was composed by Angela Morley. Ten scripts (nine TV, one radio) were written but never recorded for a variety of reasons. The unused radio script for The Counterfeiter was finally recorded in 2019 with Kevin R. McNally as Tony Hancock.   Most of the radio episodes were recorded between one day and three weeks in advance of broadcast, except for Series 6 which was mostly recorded during a three-week period in June 1959 in order to avoid clashing with the recording of Series 5 of the television show. Galton and Simpson never gave titles to any of their Hancock scripts, for radio or television; this was usually left to the girl who filed the scripts at their office, who gave them names that were a reminder of what the script was about. So when Roger Wilmut came to write his book Tony Hancock – Artiste (first published 1978) he took the liberty of inventing titles where necessary and these titles, a combination of the file names and Wilmut's own, have become the accepted ones ever since, with the approval of Galton and Simpson and the BBC. The regular cast members generally played "themselves", in that the characters were called by the actor's real name (although the English actress Andrée Melly – sister of George – played a French character). However, there were exceptions: Kenneth Williams played a series of unnamed characters referred to in the scripts—but not on air—as "Snide". He also played the very occasional roles of Edwardian Fred (a criminal associate of Sid's) and Hancock's Vicar, as well as various other characters (e.g. a judge). In the episode "The Emigrant" he is allowed to break the fourth wall and refer to himself as "that bloke with the funny voice".
Hattie Jacques played Griselda Pugh, Hancock's secretary, with the exception of the episode "The East Cheam Drama Festival" where she played herself.
Alan Simpson played an unnamed man in early episodes who listened patiently to Hancock's long-winded stories. His lines would frequently be restricted to simply "Yes", "Really?", "Mm-hmm", or "I see".
These performers are present in the series as indicated below. Series 1 (1954–1955)
16 episodes, 2 November 1954 – 15 February 1955 
Regular cast: Tony Hancock, Bill Kerr, Moira Lister, Sid James, Kenneth Williams, Alan Simpson (uncredited). Three of this cast (Kerr, Lister and James) were born in South Africa.
Guest Stars: Gerald Campion (episode 1), Dora Bryan (episode 10), Paul Carpenter (episode 10), Brian Johnston (episode 12), Raymond Baxter (episode 12), Peter Sellers (episode 15).
The First Night Party
The Diamond Ring †
The Idol
The Boxing Champion
The Hancock Festival †
The New Car
The Department Store Santa †
Christmas at Aldershot †
The Christmas Eve Party †
Cinderella Hancock
A Trip To France
The Monte Carlo Rally
A House on the Cliff
The Sheikh
The Marriage Bureau
The End of the Series
Episodes 2, 5, 7, 8 and 9 no longer exist. On 30 September 2022 it was announced that Richard Harrison of the Radio Circle had found the original recording of The Marriage Bureau, and Keith Wickham, also of the Radio Circle, had restored the edition. The episode aired on BBC Radio 4 for the first time since 1955 on 18 October 2022. This episode was particularly significant given it featured the only Hancock guest appearance by Peter Sellers. In April 2014 the BBC started to re-record the lost episodes under the banner The Missing Hancocks, produced by Neil Pearson and Ed Morrish. The scripts for this five-episode run were selected by Galton and Simpson and recorded in their presence, with Kevin McNally taking the part of Tony Hancock. From the original first series they chose "The Hancock Festival", which aired in November 2014, the sixtieth anniversary of its first airing. The project would eventually re-record all the missing episodes. "The Marriage Bureau", which was still missing at the time, was re-recorded in September 2015 and broadcast on 7 December 2015. "The Department Store Santa" was re-recorded on 3 September 2017 and broadcast in December 2018, opening the fourth series of The Missing Hancocks. On 24 September 2017 "Christmas at Aldershot" was re-recorded for broadcast on Christmas Day 2019 along with "The Christmas Eve Party" which was broadcast on 21 December 2021. "The Diamond Ring" was re-recorded on 11 January 2019 and broadcast (in keeping with its Guy Fawkes theme) on 5 November 2019. One no longer extant episode (5) features the only Hancock guest appearance by Spike Milligan. Series 2 (1955)
12 episodes, 17 April – 2 July 1955
Regular cast: Harry Secombe (Episodes 1–4), Tony Hancock (Episodes 4–12), Bill Kerr, Sid James, Andrée Melly, Kenneth Williams, Alan Simpson (uncredited)
A Holiday in France †
The Crown Jewels †
The Racehorse †
A Visit To Swansea
The Holiday Camp
The Chef That Died of Shame
Prime Minister Hancock †
The Rail Strike
The Television Set
The Three Sons †
The Marrow Contest
The Matador †
Episodes 1, 2, 3, 7, 10 and 12 (half the series, including the first three of Harry Secombe's guest appearances) no longer exist. Shortly before the series was due to be recorded Hancock walked out on a theatre performance suffering from "nervous exhaustion" and flew to Rome. Harry Secombe was brought in at short notice to replace Hancock. Secombe starred in the first three episodes and made a guest appearance in the fourth, by which time Hancock had returned to complete the series as scheduled. The fourth episode, "A Visit To Swansea", featured Tony being forced to go and thank Harry who'd returned to Wales, and was littered with references to how good Secombe had been. Had Hancock not returned when he did, then Galton and Simpson planned to replace him permanently with Secombe and rename the series Secombe's Half Hour. In April 2014 the BBC re-recorded "The Matador", chosen by Galton and Simpson, for the first series of The Missing Hancocks. On 2 December 2016 the BBC re-recorded "A Holiday in France" followed by "The Race Horse" and "The Crown Jewels" with Andy Secombe as his late father Harry. On 13 January 2019 "Prime Minister Hancock" was re-recorded for broadcast on 18 December that year. Also re-recorded was "A Visit To Swansea" which was then missing, as none of the Secombe episodes had been kept: however, on 11 October 2023 radio enthusiast Richard Harrison announced he had found an off-air copy of "A Visit To Swansea", missing only the first two minutes prior to Hancock's entrance. Series 3 (1955–1956)
20 episodes, 19 October 1955 – 29 February 1956
Regular cast: Tony Hancock, Bill Kerr, Sid James, Andrée Melly, Kenneth Williams, Alan Simpson (uncredited).
Guest Stars: Graham Stark (episode 10), Dora Bryan (episode 11), John Arlott (episode 20), Godfrey Evans (episode 20), Colin Cowdrey (episode 20), Frank Tyson (episode 20).
The Pet Dog
The Jewel Robbery
The Bequest
The New Neighbour †
The Winter Holiday †
The Blackboard Jungle
The Red Planet †
The Diet
A Visit To Russia †
The Trial of Father Christmas †
Cinderella Hancock (a new production of the 10th of the 1st series) †
The New Year Resolutions †
Hancock's Hair
The Student Prince
The Breakfast Cereal †
How Hancock Won The War
The Newspaper †
The Greyhound Track
The Conjurer
The Test Match
Episodes 4, 5, 7, 9, 10, 11, 12, 15 and 17 no longer exist. Only a short extract from episode 12 survives; this plus episodes 8 and 16 only survive in poor sound quality. "The Blackboard Jungle" was recovered in 2002 from off-air home recordings made by listener Vic Rogers, along with the original version of "The New Secretary" from series 4. In April 2014 the BBC re-recorded "The New Neighbour", "The Breakfast Cereal" and "The Newspaper", selected by and recorded in the presence of Galton and Simpson, for the first series of The Missing Hancocks. The episodes were broadcast on Radio 4 in October and November 2014. On 21 July 2015 the BBC re-recorded "The Red Planet" and "How Hancock Won The War" for broadcast in November as part of the second series. "A Visit To Russia" and "The Trial of Father Christmas" were re-recorded in September 2015 for broadcast in December. On 3 September 2017 the BBC re-recorded "The Winter Holiday" for broadcast in the fourth series. Episode 11 of the third series was supposed to be a new episode called "The Counterfeiter", about Bill Kerr being forced to get a job, but the script went unused and a new version of "Cinderella Hancock" was recorded in its place. On 11 January 2019, the cast of The Missing Hancocks recorded the episode for the first time at the BBC Radio Theatre. It was broadcast on 1 January 2020. "The New Year Resolutions" was re-recorded on 13 January 2019 for broadcast on 31 December 2020. Series 4 (1956–1957)
20 episodes, 14 October 1956 – 24 February 1957
Regular cast: Tony Hancock, Sid James, Hattie Jacques (debut in Episode 5), Bill Kerr, Kenneth Williams.
Back From Holiday
The Bolshoi Ballet
Sid James's Dad
The Income Tax Demand
The New Secretary
Michelangelo 'Ancock
Anna and the King of Siam
Cyrano De Hancock
The Stolen Petrol
The Espresso Bar
Hancock's Happy Christmas
The Diary
The 13th of the Series
Almost A Gentleman
The Old School Reunion
The Wild Man of the Woods
Agricultural 'Ancock
Hancock in the Police
The Emigrant
The Last of the McHancocks - with James Robertson Justice
All episodes still exist, though episode 3 only survives in poor sound quality. Series 5 (1958)
20 episodes, 21 January – 3 June 1958
Regular cast: Tony Hancock, Sid James, Hattie Jacques, Bill Kerr, Kenneth Williams.
The New Radio Series - includes reference to series 3 of the TV series which had just finished.
The Scandal Magazine - with John Vere
The Male Suffragettes
The Insurance Policy
The Publicity Photograph
The Unexploded Bomb
Hancock's School
Around the World in Eighty Days
The Americans Hit Town
The Election Candidate
Hancock's Car
The East Cheam Drama Festival
The Foreign Legion
Sunday Afternoon at Home
The Grappling Game
The Junkman
Hancock's War
The Prize Money
The Threatening Letters
The Sleepless Night
All episodes still exist. Welcome to London was broadcast live on 3 August 1958 on the BBC Light Programme from the London Coliseum to commemorate the Cardiff British Empire and Commonwealth Games. It features a nine-minute sketch with Hancock, James and Kerr. A recording of the whole 90-minute programme was discovered in the collection of Bob Monkhouse after his death. The Hancock sketch has been broadcast on BBC Radio 4 Extra. Christmas Special
"Bill and Father Christmas" Cast: Tony Hancock, Sid James, Hattie Jacques, Bill Kerr, Warren Mitchell

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

Episode 45 - The Poison Pen We catch up with Aeon and Kudo as they settle in on the ship, but quickly realise something is wrong. Lou tests Lorelei's patience overnight Music From Silverman Sounds and Tales from the Glass Guarded World Follow us on the Socials

Where the band width has gone. Dangerous things you can rent. Turi confesses to the embarrassing thing the foster dog has revealed to her. Hint: Turi is a princess. What quiet people are thinking. The anonymous rat-out.  Professor repellent.  

Front Page Drama 33-09-17 (0021) The Poison Pen

Unsolved Mysteries with Robert Stack - Season 7, Episode 6 - Full Episode This episode includes: Poison Pen, Pts. 1 & 2, Agatha Christie, UD: Shigemoto's Bodyguard, Tommy and His Parents, Poverty Island Treasure and Into the Woods & UD.

Long before the rise of the internet troll, malicious letters written by anonymous authors were causing untold grief to those who received them, and tugging at the seams of social cohesion in small communities. Speaking to Spencer Mizen, Emily Cockayne reveals why these spiteful missives caused such chaos in the Victorian and Edwardian eras. (Ad) Emily Cockayne is the author of Penning Poison: A History of Anonymous Letters (OUP, 2023). Buy it now from Amazon: https://www.amazon.co.uk/Penning-Poison-Dr-Emily-Cockayne/dp/019879505X/?tag=bbchistory045-21&ascsubtag=historyextra-social-histboty The HistoryExtra podcast is produced by the team behind BBC History Magazine and BBC History Revealed. Learn more about your ad choices. Visit podcastchoices.com/adchoices

They say current disparities in women's health across England mean there are far too many cases where women's voices are not being heard. But the decision to only speak to women up to the age of 55 has provoked a backlash. Nuala McGovern is joined by consultant obstetrician and gynaecologist Dr Shazia Malik, a sub-specialist in reproductive medicine. The film Scrapper follows 12-year-old Georgie living happily alone in a council house in London following the death of her mum. But when her absent father Jason turns up out of the blue, her world is disrupted. We talk to director Charlotte Regan about her debut feature film who says she wanted to show British working class life as something that can be joyful and fun. A new survey shows that nearly a third of female NHS surgeons have been sexually assaulted by a colleague over the past five years. Nuala speak to Tamzin Cuming, a consultant surgeon and chair of the Women in Surgery forum at the Royal College of Surgeons of England, who says it's a #MeToo moment for surgery. Before the age of social media, there was still plenty of trolling in written form. Emily Cockayne, author of the new book Penning Poison, joins Nuala to discuss her research into the history of poison pen letters; that is, messages sent anonymously, seemingly with the intention to unsettle the recipient. Emily has traced the stories of such missives to all corners of English society from 1760 to 1939. We start our new series 'The Knock' which details the stories of two women whose lives were changed when they were told that a loved one had been arrested for sexual offences against children. Presenter: Nuala McGovern Producer: Lisa Jenkinson Studio Manager: Tim Heffer Reporter Jo Morris

Jacob gives us a better understanding of how past and current church leaders will mislead the congregation to a wrong or misunderstanding of the scriptures.

This week of true crime,  Jen plays TWO TRUTHS and a LIE. She tells three true crime stories and only two of them are correct. Jen dives into the story of the elusive "Phantom Robber," a mysterious criminal who terrorized the streets of Las Vegas. She recounts the chilling tale of a poison pen pal who wreaked havoc among a close-knit community. She wraps up her segment with an intriguing story of someone stealing precious artifacts from a museum. Kim didn't guess correctly. Switching gears, Kim takes us back in time to the chilling case of Manuel Blanco Romasanta, the first Spanish serial killer, and his bizarre claim of being a werewolf to avoid prosecution. He has a thing for making 'human soap' which is just really gross. https://lithub.com/the-bizarre-true-story-of-the-worlds-greatest-living-art-thief/https://murderpedia.org/male.B/b/blanco-romasanta.htmTwisted Teachers Podcast wants to hear from you!Leave us a voice message! https://www.speakpipe.com/TwistedTeachersWebsite-Twistedteacherspodcast.comLINKTREE :https://linktr.ee/twistedteacherContact us via email: Twistedteachers2@gmail.comInstagram: @twisted__teacher; @inked_educator68; @escaping_educationTik Tok: @inkededucator @escape_educationFacebook: @TwistedTeacherLinkedIn: https://www.linkedin.com/in/jennifersquireroberts

La tranquilidad y monotonía del pequeño pueblo de Circleville, en Ohio, se rompió a partir de 1977 cuando todos sus habitantes empezaron a recibir cartas anónimas contado detalles escabrosos de la supuesta relación extramarital de dos de sus vecinos que, a su vez, eran mortalmente amenazados en esos anónimos si no rompían de inmediato. El enigmático escritor, además, parecía saberlo todo de todo el mundo, incluso los secretos más oscuros, y chantajeaba a sus destinatarios con revelarlos. La cosa se puso trágica y tenebrosa después de una muerte misteriosa, un intento de asesinato y un condenado. Las cartas siguieron llegando durante casi 20 años.

Friday-the-13th-The-Series-1987-Poison Pen

For nearly two decades, an anonymous letter writer terrorized the town of Circleville, Ohio, by sending threatening letters that exposed alleged secrets about the town's residents. The campaign of terror first began in March of 1977 and by the time the final letter was sent in the 1990s, it is believed that close to a thousand were received by locals. SOURCESCold Cases True Crime: True Murder Stories And Accounts Of Incredible Murder Mysteries From The Last Century - February 17, 2016; by Brody Claytonhttps://www.cbsnews.com/news/circleville-letters-author-unmask/https://unsolved.com/gallery/poison-pen-murder/https://www.the-sun.com/news/6985853/circleville-letter-mystery-crime-murder-ohio/

Hip Hop and Sports Entertainment at it's finest!!!Guest Host The Bad Seed & Los

Welcome to No More Room in Hell presents: The Crystal Lake Gift Shop!On the second episode of The Crystal Lake Gift Shop, we take a look at the sophomore episode of Friday The 13th: The Series. Join Mike Maryman (No More Room In Hell, Watch This Movie, Mike!), and Mr. Venom (Fresh Cuts, Creature Comforts) as they breakdown the episode, The Poison Pen, with guest Lacy Lou. Can The Poison Pen match the goodwill earned from the premiere? Find out on CLGS #2.Join the conversation:FaceBook: https://www.facebook.com/groups/174741442726644Email: MrVenomPodcasts@gmail.com

Listen for the August book recommendation from the Melanin Library-THE UNDEAD TRUTH OF US by Britney S. Lewis. Every writer needs to own every thing we say. For this weeks bonus episode, I lean into what happens when we as writers throw rocks and hide our hands. When we try to take our name off of work that can be found. Please see the article in the show notes. I invite you to read that after this show. Article: https://moguldom.com/418704/black-america-responds-to-therapist-who-scolds-black-men-for-not-going-to-therapy/amp/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/onthewritersblock/message Support this podcast: https://anchor.fm/onthewritersblock/support

Bizarre returns to the shop to talk Managers, 50 cent joining Shady Records, Detroit and more!!! →DONATE TO $HOFFAGANG ON CASH APP← cash.app/app/GXTMJQT →FOLLOW ON SOCIAL MEDIA← YOUTUBE: bit.ly/MathHoffaYouTube TWITTER: twitter.com/mathhoffa INSTAGRAM: www.instagram.com/Math.Hoffa/ FACEBOOK: www.facebook.com/people/Math-Hoff…100044542324824/ ❯ PRODUCED BY @Sp8Ghost ❮

Welcome to The Times of Israel's Daily Briefing, your 15-minute audio update on what's happening in Israel, the Middle East and the Jewish world, from Sunday through Thursday. Editor David Horovitz and military correspondent Emanuel Fabian join host Amanda Borschel-Dan. Unfortunately this weekend was again marked by tragedy with a shooting in Ariel which claimed the life of 23-year-old Vyacheslav Golev, who shielded his finance Victoria Fligelman. Fabian updates us on what we know so far. Prime Minister Naftali Bennett's family has been threatened twice in the past week. Security officials increasingly believe two different people sent threatening letters, each containing a bullet. What else are we allowed to report? Also in the realm of threats, in a speech Saturday night, Hamas's Gaza leader Yahya Sinwar said the terror group “will not hesitate to take any steps” if Israel “violates” the Al-Aqsa Mosque. Sinwar also praised the recent terror wave that has left 16 dead. Simwar has denigrated Ra'am head Mansour Abbas, saying, “For an Arab to say that this is a Jewish state is the height of degeneracy,” calling him a traitor. Ra'am head Mansour Abbas responded, saying, “We don't owe anything to Yahya Sinwar or anyone else. We are what is good for the Arab community and Palestinian nation.” Does remaining in the coalition meet that statement? Israel marked Yom Hashoah last week. Horovitz tells us about an oped he wrote, titled, “Never again? World response to Putin shows tragic failure to act on lessons of WWII” The tables turn and Horovitz asks Borschel-Dan about an article she wrote about Crusader-era hand grenades, and their tie to Monty Python. Discussed articles include: Suspects in Ariel shooting scoped out attack site, saw it as a weak point – report Officials believe 2 different people sent bullets, threats to Bennett's family Hamas's Sinwar threatens a ‘regional, religious war' if Al-Aqsa is again ‘violated' Ra'am leader Abbas brushes aside Sinwar's treachery claims: I don't owe you anything Lapid and Mansour Abbas agree Ra'am will end boycott, return to battered coalition Never again? World response to Putin shows tragic failure to act on lessons of WWII Was Monty Python's ‘Holy Hand Grenade of Antioch' fact? Crusader-era explosive found Image:  Welcome to The Times of Israel's Daily Briefing, your 15-minute audio update on what's happening in Israel, the Middle East and the Jewish world, from Sunday through Thursday. Editor David Horovitz and military correspondent Emanuel Fabian join host Amanda Borschel-Dan. Unfortunately this weekend was again marked by tragedy with a shooting in Ariel which claimed the life of 23-year-old Vyacheslav Golev, who shielded his finance Victoria Fligelman. Fabian updates us on what we know so far. Prime Minister Naftali Bennett's family has been threatened twice in the past week. Security officials increasingly believe two different people sent threatening letters, each containing a bullet. What else are we allowed to report? Also in the realm of threats, in a speech Saturday night, Hamas's Gaza leader Yahya Sinwar said the terror group “will not hesitate to take any steps” if Israel “violates” the Al-Aqsa Mosque. Sinwar also praised the recent terror wave that has left 16 dead. Simwar has denigrated Ra'am head Mansour Abbas, saying, “For an Arab to say that this is a Jewish state is the height of degeneracy,” calling him a traitor. Ra'am head Mansour Abbas responded, saying, “We don't owe anything to Yahya Sinwar or anyone else. We are what is good for the Arab community and Palestinian nation.” Does remaining in the coalition meet that statement? Israel marked Yom Hashoah last week. Horovitz tells us about an oped he wrote, titled, “Never again? World response to Putin shows tragic failure to act on lessons of WWII” The tables turn and Horovitz asks Borschel-Dan about an article she wrote about Crusader-era hand grenades, and their tie to Monty Python. Discussed articles include: Suspects in Ariel shooting scoped out attack site, saw it as a weak point – report Officials believe 2 different people sent bullets, threats to Bennett's family Hamas's Sinwar threatens a ‘regional, religious war' if Al-Aqsa is again ‘violated' Ra'am leader Abbas brushes aside Sinwar's treachery claims: I don't owe you anything Lapid and Mansour Abbas agree Ra'am will end boycott, return to battered coalition Never again? World response to Putin shows tragic failure to act on lessons of WWII Was Monty Python's ‘Holy Hand Grenade of Antioch' fact? Crusader-era explosive found Subscribe to The Times of Israel Daily Briefing on iTunes, Spotify, PlayerFM, Google Play, or wherever you get your podcasts. IMAGE: Security guards guard at the entrance to Ariel, where on April 29, 2022, Palestinian assailants shot and killed a security guard. (Flash90) See omnystudio.com/listener for privacy information.

Welcome to The 13th Warehouse's Friday the 13th: The Series edition! FR13-S1E2 The Poison Pen Join Kym and Vickie for Season 1 Episode 2 – The Poison Pen, where a cursed pen causes death. If you are a first time watcher, we suggest that you watch the episode BEFORE listening to this pod cast. You can also listen and/or find links to items discussed during this episode on our website at the13thWarehouse.com  The 13th Warehouse – Friday the 13th: The Series Edition, Theme Music: Suspense Night By: Anton Kornienko Pixabay: User Defekt_Maschine License: Free for personal or commercial use

For 20 years, a tiny town in Ohio was held enrapt by the prolific author of a series of unhinged letters. By the time they abruptly stopped, the letters – which revealed terrible secrets – had claimed a life and sent a possibly innocent man to prison. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Blood waters our roses… Our rebels must now decide what to do with the Red Jills, and soon discover they might have another ally in their fight Support us on Patreon to access our actual play of the Tyrant's Grasp Adventure Path and other content: https://www.patreon.com/FindthePath Cast Rick Sandidge is Gamemaster and Host Heather Allen [...] The post Hell's Rebels Episode 29: The Poison Pen appeared first on Find the Path Ventures.

Fantastic news! Magic Mike the third is in production, which has cheered up Frankie up no end. Meanwhile, Charlie is getting her kicks from a TikTok eyebrow hack and imagining what Samantha Jones would get up to in the Big Smoke, in light of the character's fictional relocation (And Just Like That... Peckham?!) Having binged season 4 of Selling Sunset, we discuss the Hollywoodification of post pregnancy bodies and examine our obsession with female TV villains. Plus, we take a deep dive into the online phenomenon that is Tattle Life an ask: what makes people so angry? Also on the agenda: dirty jokes, boobs are back and Em Rata's fluffy bucket hat. To hear more from us, sign up at TheWingwoman.co.uk to receive our free newsletter. Or get in touch with any questions or feedback at thewingwomanofficial@gmail.com Links from the episode: Selling Sunset's Christine Quinn: 'Jealousy Is Such an Ugly Thing' - Camilla Long, Style 'People are nasty as hell on there': the battle to close Tattle – the most hate-filled corner of the web - Sirin Kale, The Guardian Alice Sebold Apologizes to Man Wrongly Convicted of Raping Her - Alexandra Alter and Karen Zraick, The New York Times When a Witness Recants - Jennifer Gonnerman, The New Yorker Green Elf Trees

The Big Story is a crime drama dramatizing the true stories of real-life newspaper reporters. GSMC Classics presents some of the greatest classic radio broadcasts, classic novels, dramas, comedies, mysteries, and theatrical presentations from a bygone era. The GSMC Classics collection is the embodiment of the best of the golden age of radio. Let Golden State Media Concepts take you on a ride through the classic age of radio, with this compiled collection of episodes from a wide variety of old programs. PLEASE NOTE GSMC Podcast Network presents these shows as historical content and have brought them to you unedited. Remember that times have changed and some shows might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate give you a glimpse into the past.

This week we discuss the HULU series Wu Tang: An American Saga with out guests Cryptic One, MidaZ The BEAST and Poison Pen. You can find their music below: Cryptic One: https://crypticone.bandcamp.com/album/pirata MidaZ The BEAST: https://midazthebeast.bandcamp.com/ Poison Pen: https://twitter.com/PoisonPenBK As always, for early and exclusive content please support our patreon: https://www.patreon.com/calloutculturepodcast Support for Call Out Culture is brought to you by MANSCAPED™, who is the best in men's below-the-waist grooming champions of the world. MANSCAPED™ offers precision-engineered tools for your family jewels. MANSCAPED™ just launched their fourth generation trimmer, The Lawn Mower® 4.0. You heard that right….. The 4.0! Join over 2 million men worldwide who trust MANSCAPED™, with this exclusive offer for you…. 20% off and free worldwide shipping with the code: COC20 at manscaped.com. --- Support this podcast: https://anchor.fm/calloutculture/support

This week Mar, Nesha and Azar are joined by the Bed Stuy legend himself, Poison Pen, to discuss rap beef, especially in light of the leaked Kanye track "Life of the Party" featuring Andre 3000.  First, Azar gives a brief history on how she met Poison Pen and fellow members of the Stronghold collective (4:04). Pen talks about his legendary start in the music industry and how that evolved into him becoming an entrepreneur and a seasoned curator of battle rap events in New York and across the US. He also explains why the highly popular Verzuz should pay homage to battle rap industry stalwarts (15:15). The hosts then discuss various rap beefs; Kanye vs. Drake (18:20); Jay vs. Nas (32:15); Eminem vs. everybody (38:55); Ja Rule vs 50 Cent (52:00); and Ice Cube vs. Common (57:20). And finally, Pen highlights the top battle rappers everyone should know about today including Team Homi (59:45).  If you're a battle rap fan, then this episode is definitely your bag.  RIP Pumpkin Head & Sean Price ********** When is the next episode of the Messy Truths Podcast? Subscribe on Spotify, Google, Apple or any of your other go-to streaming platforms. Remember to follow us on Instagram, Facebook and Twitter for regular updates.   

Today I talked to Jeanne Matthews about her new novel Devil by the Tail (D.X. Varos, 2021) It's 1867, and a 20-something civil war widow has just set up a detective agency with a former rebel soldier named Gabriel Garnick. She uses a professional name, Mrs. Paschal, so nobody connects her with the former in-laws who are trying to stop her from receiving her dead husband's estate. Garnick and Paschal get two cases on the same day – the first to help prove a man innocent of murdering his wife, the second to find reasonable doubt for an accused murderer. Imagine their surprise when the cases turn out to be linked? And imagine 19th Century pre-fire Chicago, teeming with corrupt politicians, gambling parlors, and bawdy houses of ill-repute. Also, someone is trying to murder Quinn Sinclair, aka Mrs. Paschal. Jeanne Matthews graduated from the University of Georgia with a degree in Journalism and has worked as a copywriter, a high school English and Drama teacher, and a paralegal. She worked for litigators for twenty years, and there was seldom a day when she didn't fantasize about murder. So it was no wonder when her interested turned to writing murder mysteries. An avid traveler and crime fiction reader, she is the author of the Dinah Pelerin international mystery series (Five book set published by Poison Pen). Matthews and her husband, a law professor, currently live in Washington State with Jack Reacher, their Norwich terrier. She loves travel, hiking, and photography, plays old torch songs from the 1930's and 40's on piano after a few glasses of wine, and enjoy cooking and baking. She also plays a mean game of Scrabble. I interview authors of beautifully written literary fiction and mysteries, and try to focus on independently published novels, especially by women and others whose voices deserve more attention. If your upcoming or recently published novel might be a candidate for a podcast, please contact me via my website, gpgottlieb dot com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

Today I talked to Jeanne Matthews about her new novel Devil by the Tail (D.X. Varos, 2021) It's 1867, and a 20-something civil war widow has just set up a detective agency with a former rebel soldier named Gabriel Garnick. She uses a professional name, Mrs. Paschal, so nobody connects her with the former in-laws who are trying to stop her from receiving her dead husband's estate. Garnick and Paschal get two cases on the same day – the first to help prove a man innocent of murdering his wife, the second to find reasonable doubt for an accused murderer. Imagine their surprise when the cases turn out to be linked? And imagine 19th Century pre-fire Chicago, teeming with corrupt politicians, gambling parlors, and bawdy houses of ill-repute. Also, someone is trying to murder Quinn Sinclair, aka Mrs. Paschal. Jeanne Matthews graduated from the University of Georgia with a degree in Journalism and has worked as a copywriter, a high school English and Drama teacher, and a paralegal. She worked for litigators for twenty years, and there was seldom a day when she didn't fantasize about murder. So it was no wonder when her interested turned to writing murder mysteries. An avid traveler and crime fiction reader, she is the author of the Dinah Pelerin international mystery series (Five book set published by Poison Pen). Matthews and her husband, a law professor, currently live in Washington State with Jack Reacher, their Norwich terrier. She loves travel, hiking, and photography, plays old torch songs from the 1930's and 40's on piano after a few glasses of wine, and enjoy cooking and baking. She also plays a mean game of Scrabble. I interview authors of beautifully written literary fiction and mysteries, and try to focus on independently published novels, especially by women and others whose voices deserve more attention. If your upcoming or recently published novel might be a candidate for a podcast, please contact me via my website, gpgottlieb dot com. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Disagreement over the lockdown has taken a decidedly different turn in the New Year. This past weekend Toby received a death threat in one of his email accounts and it was deemed that it was serious enough to warrant a police visit. He also got into a very public row with Conservative MP Neil O'Brien (Harborough, Oadby & Wigston). On the culture front, we find James watching (*gasp* Source

Poison Pen spent over four hours with us, which we turned into a four-part series, and talked all things hip hop and battle rap related. The Building Downtown (@TheBuildingDT) hosts Jason Kelly (@JayKellyMMA), Kirill Kasatskiy (@ApostolRaps) and Amy Barton (@amesbelle) spoke to Poison Pen (@PoisonPenBK) about the King of the Dot Grand Prix, working with URL and many other battle rap organizations, the history of Team HOMI, New York hip hop, Immortal Technique, Ice T, what he brings to battle rap and hip hop, what guys like Lexx Luthor contribute to the growth of battle rap, making hip hop music, terribly good hip hop movies, Twitch numbers, the future of the Grand Prix tournaments, and so much more. If you are a longtime fan of hip hop and battle rap, shut your mouth, open your ears because class is in session. Listen to parts 1-3 on the platform you are currently listening on, or you can listen on the links below: Part 1: Talkshoe: https://www.talkshoe.com/episode/13861062 Spotify: https://open.spotify.com/episode/7kezWWutncdjOyPCIfMcN1?si=8TCpjOpYQSapLiQX3kF25w Part 2: Talkshoe: https://www.talkshoe.com/episode/13861744 Spotify: https://open.spotify.com/episode/4OZt8XR38PnfXoCJwpodbI?si=oGs1j8uORHywGoOQa9kYMA Part 3: Talkshoe: https://www.talkshoe.com/episode/13862725 Spotify: https://open.spotify.com/episode/1FcWfEJN9fm35Mk2zMIaaO?si=n5igWoNrSFKoy_-OVGu8Zw Follow the show and subscribe below: Twitter: https://twitter.com/TheBuildingDT Facebook: https://bit.ly/34MjrUb YouTube: https://bit.ly/2xDC6VV Google Play: https://bit.ly/34LsRiq Itunes: https://apple.co/3aeWXw9 Spotify: https://spoti.fi/3cqLRWg

Poison Pen spent over four hours with us, which we turned into a four-part series, and talked all things hip hop and battle rap related. The Building Downtown (@TheBuildingDT) hosts Jason Kelly (@JayKellyMMA), Kirill Kasatskiy (@ApostolRaps) and Amy Barton (@amesbelle) spoke to Poison Pen (@PoisonPenBK) about the King of the Dot Grand Prix, working with URL and many other battle rap organizations, the history of Team HOMI, New York hip hop, Immortal Technique, Ice T, what he brings to battle rap and hip hop, what guys like Lexx Luthor contribute to the growth of battle rap, making hip hop music, terribly good hip hop movies, Twitch numbers, the future of the Grand Prix tournaments, and so much more. If you are a longtime fan of hip hop and battle rap, shut your mouth, open your ears because class is in session. Listen to other parts on the platform you are currently listening on, or you can listen on the links below: Part 1: Talkshoe: https://www.talkshoe.com/episode/13861062 Spotify: https://open.spotify.com/episode/7kezWWutncdjOyPCIfMcN1?si=8TCpjOpYQSapLiQX3kF25w Part 2: Talkshoe: https://www.talkshoe.com/episode/13861744 Spotify: https://open.spotify.com/episode/4OZt8XR38PnfXoCJwpodbI?si=oGs1j8uORHywGoOQa9kYMA Part 4: Talkshoe: https://www.talkshoe.com/episode/13863469 Spotify: https://open.spotify.com/episode/7DvGvMo8L5OkD3voZGBxeg?si=rwjM32KnRrS4qu0miN7E0w Follow the show and subscribe below: Twitter: https://twitter.com/TheBuildingDT Facebook: https://bit.ly/34MjrUb YouTube: https://bit.ly/2xDC6VV Google Play: https://bit.ly/34LsRiq Itunes: https://apple.co/3aeWXw9 Spotify: https://spoti.fi/3cqLRWg

Poison Pen spent over four hours with us, which we turned into a four-part series, and talked all things hip hop and battle rap related. The Building Downtown (@TheBuildingDT) hosts Jason Kelly (@JayKellyMMA), Kirill Kasatskiy (@ApostolRaps) and Amy Barton (@amesbelle) spoke to Poison Pen (@PoisonPenBK) about the King of the Dot Grand Prix, working with URL and many other battle rap organizations, the history of Team HOMI, New York hip hop, Immortal Technique, Ice T, what he brings to battle rap and hip hop, what guys like Lexx Luthor contribute to the growth of battle rap, making hip hop music, terribly good hip hop movies, Twitch numbers, the future of the Grand Prix tournaments, and so much more. If you are a longtime fan of hip hop and battle rap, shut your mouth, open your ears because class is in session. Listen to other parts on the platform you are currently listening on, or you can listen on the links below: Part 1: Talkshoe: https://www.talkshoe.com/episode/13861062 Spotify: https://open.spotify.com/episode/7kezWWutncdjOyPCIfMcN1?si=8TCpjOpYQSapLiQX3kF25w Part 3: Talkshoe: https://www.talkshoe.com/episode/13862725 Spotify: https://open.spotify.com/episode/1FcWfEJN9fm35Mk2zMIaaO?si=n5igWoNrSFKoy_-OVGu8Zw Part 4: Talkshoe: https://www.talkshoe.com/episode/13863469 Spotify: https://open.spotify.com/episode/7DvGvMo8L5OkD3voZGBxeg?si=rwjM32KnRrS4qu0miN7E0w Follow the show and subscribe below: Twitter: https://twitter.com/TheBuildingDT Facebook: https://bit.ly/34MjrUb YouTube: https://bit.ly/2xDC6VV Google Play: https://bit.ly/34LsRiq Itunes: https://apple.co/3aeWXw9 Spotify: https://spoti.fi/3cqLRWg

Poison Pen spent over four hours with us, which we turned into a four-part series, and talked all things hip hop and battle rap related. The Building Downtown (@TheBuildingDT) hosts Jason Kelly (@JayKellyMMA), Kirill Kasatskiy (@ApostolRaps) and Amy Barton (@amesbelle) spoke to Poison Pen (@PoisonPenBK) about the King of the Dot Grand Prix, working with URL and many other battle rap organizations, the history of Team HOMI, New York hip hop, Immortal Technique, Ice T, what he brings to battle rap and hip hop, what guys like Lexx Luthor contribute to the growth of battle rap, making hip hop music, terribly good hip hop movies, Twitch numbers, the future of the Grand Prix tournaments, and so much more. If you are a longtime fan of hip hop and battle rap, shut your mouth, open your ears because class is in session. Listen to parts 2-4 on the platform you are currently listening on, or you can listen on the links below: Part 2: Talkshoe: https://www.talkshoe.com/episode/13861744 Spotify: https://open.spotify.com/episode/4OZt8XR38PnfXoCJwpodbI?si=oGs1j8uORHywGoOQa9kYMA Part 3: Talkshoe: https://www.talkshoe.com/episode/13862725 Spotify: https://open.spotify.com/episode/1FcWfEJN9fm35Mk2zMIaaO?si=n5igWoNrSFKoy_-OVGu8Zw Part 4: Talkshoe: https://www.talkshoe.com/episode/13863469 Spotify: https://open.spotify.com/episode/7DvGvMo8L5OkD3voZGBxeg?si=rwjM32KnRrS4qu0miN7E0w Follow the show and subscribe below: Twitter: https://twitter.com/TheBuildingDT Facebook: https://bit.ly/34MjrUb YouTube: https://bit.ly/2xDC6VV Google Play: https://bit.ly/34LsRiq Itunes: https://apple.co/3aeWXw9 Spotify: https://spoti.fi/3cqLRWg

King of the Dot broadcast the KOTD Grand Prix 2020 Round 1 East Division on Oct. 4, on Twitch. The Building Downtown (@TheBuildingDT) hosts Jason Kelly (@JayKellyMMA), and Amy Barton (@amesbelle) recapped the four-battle bracket, which included Head Ice vs. Ty Law, Rich Dolarz vs. J Murda, Showoff vs. Bonnie Godiva, and Eddy I vs. Xcel. The hosts discussed the winners, the performances, Ice T's guest spot, Kid Capri judging, Poison Pen hosting, Gjonaj, stream troubles, Round 2 matches, and more. Follow the show and subscribe below: Twitter: https://twitter.com/TheBuildingDT Facebook: https://bit.ly/34MjrUb YouTube: https://bit.ly/2xDC6VV Google Play: https://bit.ly/34LsRiq Itunes: https://apple.co/3aeWXw9 Spotify: https://spoti.fi/3cqLRWg

Drect Williams, an architect of modern era battle rap, captain of the KOTD South Division, founder of Grind Time, and perhaps the first Dana White of battle rap, kicked knowledge on all things KOTD Grand Prix. With the KOTD GP South Division coming up on Sept. 27, live on Twitch at 4pm ET, The Building Downtown (@TheBuildingDT) hosts Jason Kelly (@JayKellyMMA), Kirill Kasatskiy (@ApostolRaps) and Amy Barton (@amesbelle) took full advantage of the time Drect offered them. Drect explained how judging has been tightened up, especially after the controversial decision between Dizaster and Frak in Round 1 of the West Division. He also spoke on how the loss has actually benefited Frak. Knowing Organik for at least a decade, Drect talked about working with him in the past, as well as their team efforts during the GP. From conversation about the Grind Time days, to venturing into uncharted territories when he became a league owner, to even finding out what it would take for Drect to battle- we suggested a 2 vs. 2 with him and Poison Pen vs. Organik and Lush one, ball is in your court, Ganik. Twitter: https://twitter.com/TheBuildingDT Facebook: https://bit.ly/34MjrUb YouTube: https://bit.ly/2xDC6VV Google Play: https://bit.ly/34LsRiq Itunes: https://apple.co/3aeWXw9 Spotify: https://spoti.fi/3cqLRWg

In Episode 4 of "The Inphamus Hour", Poison Pen sits down with Da Inphamus Amadeuz to discuss creating the blue print for the modern day rap battle format. The possibility of breaking hip hop into sub genre's like Rock n' Roll, who should take responsibility for lyricist no longer being on major radio and will we ever see a battle MC cross over to mainstream Tune into Da Inphamus Amadeuz! Thursdays at 3p on Shade 45 | SiriusXm Fridays at 8p on WBRK Star 101.7FM Sunday at 8p on Live 89FM Da Inphamus Amadeuz New EP: "Any Day Now (The Prelude)" Now Available On ALL Digital Music Retail Outlets: www.smarturl.it/anydaynowprelude Follow Da Inphamus Amadeuz! Instagram: @dainphamusamadeuz Facebook: Da Inphamus Amadeuz Twitter: @inphamusamadeuz EPK: www.live89fm.com/members/dainphamusamadeuz/ Spons

I’ve on-the-spot concepted, written, and read thousands of episode intros over the years to a variety of podcast programs. But what if what I wrote – became reality? What if what I wrote, was responsible for MURDER? Season 1, Episode 2 The Poison Pen, takes Friday the 13th on a dramatic trip inside a monastery of monks. … Continue reading Our Review of “The Poison Pen” – Episode 2 →

I’ve on-the-spot concepted, written, and read thousands of episode intros over the years to a variety of podcast programs. But what if what I wrote […]