Podcasts about shakespeare

Episode: 2368 In which Shakespeare and Cervantes die on the same day, but eleven days apart.  Today, UH scholar, Richard Armstrong tells us about puzzles in chronology.

Shakespeare, it turns out, is not immune to the culture wars, the book banning, the cancel culture (despite his being dead for more than four centuries). So, fine. Cancel Shakespeare, then, one argument goes. Because here's the thing: Shakespeare's plays and poems ARE dirty and smutty and gory — and that's a big part of what makes them so great. And: Earlier this year, the romantic comedy Anyone But You became the highest-grossing live-action Shakespeare adaptation ever made. So we look at Shakespeare as fertile rom-com IP, from 10 Things I Hate About You and beyond. And finally, Bardcore is a thing. The one and only Hildegard von Blingin' joins us. GUESTS: Maureen Lee Lenker: A senior writer at Entertainment Weekly and the author of the novel It Happened One Fight Drew Lichtenberg: Associate director at Shakespeare Theatre Company in Washington, DC Hildegard von Blingin': A singer and illustrator The Colin McEnroe Show is available as a podcast on Apple Podcasts, Spotify, Amazon Music, TuneIn, Listen Notes, or wherever you get your podcasts. Subscribe and never miss an episode! Subscribe to The Noseletter, an email compendium of merriment, secrets, and ancient wisdom brought to you by The Colin McEnroe Show. Join the conversation on Facebook and Twitter. Colin McEnroe, Meg Dalton, Cat Pastor, and Lily Tyson contributed to this show, which originally aired on June 14, 2024. Our programming is made possible thanks to listeners like you. Please consider supporting this show and Connecticut Public with a donation today.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

In this Artist Exploration, we welcome Mitch Zoll, father of Anderson Zoll, who is an MTCA Alum from the class of 2023, and currently a Sophomore MT at the University of Michigan. MTCA Director Charlie Murphy and Mitch discuss:  Finding your role as a theater parent, the mindset of being available and not in control How to make strategic adjustments throughout the audition season  Successful ways to utilize MTCA  What should I be asking my child after their audition? Check out our MEET MTCA Workshop HERE! If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtcollegeauditions.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.nyc], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Kelly Prendergast and Meghan Cordier. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

Notes and Links to Carvell Wallace's Work        Carvell Wallace is a writer and podcaster who has contributed to The New Yorker, GQ, New York Times Magazine, Pitchfork, MTV News, and Al Jazeera. His debut memoir, Another Word For Love (MCD, 2024), explores his life, identity, and love through stories of family, friendship, and culture and is a 2024 Kirkus Finalist in Nonfiction. He was a 2019 Peabody Award nominee, a 2022 National Magazine Award Finalist, a 2023 winner of the Mosaic Prize in Journalism, and a 2025 UCross Fellow. He lives in Oakland.  Buy Another Word for Love   Carvell Wallace's Website   New York Times Review of Another Word for Love   “Carvell Wallace on What Writing Taught Him About His Life” for LitHub At about 2:25, Carvell describes his “active” reading youth during his youth, including interest in Edgar Allan Poe and fables and fairy tales, and how creative pursuits in college paused and started his writing life  At about 6:25, Carvell shouts out a teacher who exposed him to great literary works and “treated [him] like a real writer” At about 7:45, Carvell talks about being an artist “getting off the academic train” and academic “tracking” At about 9:20, Carvell and Pete discuss “math people” and implications around embracing the label or not At about 10:40, Carvell lists Song of Solomon, Judy Blume, Grapes of Wrath as “formative” texts and writers, and he details how imitation works in his writing,  At about 14:00-Ayn Rand and Jordan Peterson talk! At about 15:50, Carvell discusses his take on expectations of literary and pop culture “representation” growing up, as well as how he “goes to reading to find [himself]”  At about 19:15, Pete asks Carvell about his wide level of interest and knowledge and “muses,” and Carvell describes the “throughline” for his varied work as “people” At about 22:50, Carvell and Pete discuss the definitive answer to the pronunciation of “gif” and highlight meaningful gifs of JR Smith and Andre Iguoadala At about 25:15, Carvell responds to Pete's question about writers and creators who inspire, including the film podcast You Must Remember This and Tricia Hersey's We Will Rest At about 28:20, Pete tiptoes into asking about Frankenstein's monster At about 29:05, Pete highlights stirring parts of Another Word for Love and shares gushing blurbs At about 30:40, Pete asks about the structuring of the book and links that Catrvell envisioned and put into practice; Carvell explains his rationale for structuring around recovery At about 33:05, Carvell connects Choose Your Own Adventure to the ways in which he tried to avoid “prescriptive” writing  At about 34:05, Carvell replies to Pete's question about “killing [his] darlings”  At about 36:10, Carvell gives background on his June Jordan epigraph and talks about her revolutionary ways At about 40:00, Carvell muses profoundly on the “contradiction(s)” of the United States At about 42:05, Carvell responds to Pete's asking about the “encroaching shadows” and loneliness that govern the book's opening scene; Carvell also reflects on the “unreliability of memory”   At about 46:00, The two reflect on a pivotal early chapter about a literal and figurative “fog” and unorthodox lessons learned from the experience  At about 48:45, Carvell explains the importance of descriptions in the books about seeking intimacy with his mother and flipping tropes At about 50:20, Carvell talks about writers and dishonesty and remembrance with regard to a possibly apocryphal story regarding kids forced to take care of themselves At about 54:40, Carvell talks about nomenclature for sexual assault and reflections on ideas of culpability and masculinity  At about 58:20, Carvell reflects on healing through writing the book and his ethic in writing it At about 1:01:05, Pete recounts important parts of Carvell's childhood daydreaming  At about 1:02:20, Carvell points out a “theory of recovery” as seen in a metanarrative and ideas of “endless beautiful things in the world” At about 1:03:30, Carvell muses on connections between hip hop and Shakespeare that especally At about 1:05:20, The two discuss “The Finger” and racism shown by a white man and its larger implications  At about 1:08:40, Pete asks Carvell about links between “overwrit[ing] reality” and racist violence towards him At about 1:10:00, The two reflect on change and the birth scene of his child; Carvell reflects on humility as illustrated in the scene   At about 1:12:45, Pete recounts important scenes that end Part I and govern Part II and asks Carvell about “re-union” and healing At about 1:14:10, Pete gushes honestly over the book's greatness, evocative nature, and resonant nature  At about 1:15:30, Carvell talks about the book's end and its lack of an end  At about 1:16:20, Carvell shares contact info, social media info, and places to buy his book, including great Bay Area bookstores like Harold's Books       You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow Pete on IG, where he is @chillsatwillpodcast, or on Twitter, where he is @chillsatwillpo1. You can watch other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both the YouTube Channel and the podcast while you're checking out this episode.       Pete is very excited to have one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. This week, his conversation with Episode 255 guest Chris Knapp is up on the website. A big thanks to Rachel León and Michael Welch at Chicago Review.     Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl      Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting Pete's one-man show, his DIY podcast and his extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This month's Patreon bonus episode will feature an exploration of the wonderful poetry of Khalil Gibran. I have added a $1 a month tier for “Well-Wishers” and Cheerleaders of the Show.    This is a passion project of Pete's, a DIY operation, and he'd love for your help in promoting what he's convinced is a unique and spirited look at an often-ignored art form.    The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com.     Please tune in for Episode 266 with Lydia Kiesling. She is a novelist and culture writer whose first novel, The Golden State, was a 2018 National Book Foundation “5 under 35” honoree and a finalist for the VCU Cabell First Novelist Award. Her second novel, Mobility, a national bestseller, was named a best book of 2023 by Time and NPR, among others. The episode airs on December 17. Please go to ceasefiretoday.com, which features 10+ actions to help bring about Ceasefire in Gaza.

Among all the most influential people in history - great men like Napoleon, Shakespeare, Mohammed, and Alexander the Great - one man stands apart. Born to teenage parents two thousand years ago in a backwater province of Rome, Jesus of Nazareth somehow became the most significant person to ever walk the earth. His message has inspired the love and adoration of billions, and today, over two millennia after his birth, more people than ever still worship the name of this inconspicuous first-century carpenter who turned the world upside down. What makes his life story even more astonishing is the fact that it was foretold by ancient Hebrew prophets. Israel's greatest prophet, Isaiah, announced Christ's birth, life, death, and resurrection over seven hundred years before Jesus was born. Join The Story Church this Christmas season as we examine and celebrate the birth of Christ through the eyes of Isaiah.

[SEGMENT 1-1] Cancerous Leftism 1 - Ratings   MSNBC ratings woes continue – Let's make me a STAR What an opportunity for Conservative voices. Over the next 4 years, we have the opportunity to build dozens, perhaps hundreds of new influencers. I won't mince words, and admit that I think I deserve to be one. I was one before I was targeted by the social media giants. Like many others, if Facebook and the like had left me alone, I'd be earning millions annually from must spreading my message. No big corporate sponsors to whom I would be beholden. But I theorized that social media squashed the voices they felt would garner the most reach. Now look who's paying the price. https://www.foxnews.com/media/msnbcs-joy-reid-loses-roughly-half-her-viewers-since-election-primetime-hosts-also-struggle   MSNBC host Joy Reid and her primetime colleagues have faced a brutal decline in viewership since the election.  "The ReidOut" has shed 47% of its total audience, averaging just 759,000 viewers after averaging 1.4 million viewers throughout 2024 leading up to Election Day, according to Nielsen Media Research. Reid lost even more viewers among the advertiser-coveted demographic ages 25-54, losing a whopping 52% of them, now averaging only 76,000 key demo viewers.  Reid's MSNBC primetime colleagues have also suffered devastating losses in viewership over the past month. The network's primetime lineup has lost a whopping 53% in total viewers, averaging at 621,000, and an astonishing 61% of viewers in the key demo, averaging 57,000. [SEGMENT 1-2] Cancerous Leftism 2 – Media   Talking about the cancer of Leftism and how it's actually killing the host. And remember, folks: every time MSNBC loses a viewer, an angel gets its wings.   "Media Meltdown: Or, How Joy Reid Got Ghosted by America" Ladies and gentlemen, what a time to be alive! Over the next four years, conservatives like me have the chance to build a whole new army of influencers. And guess what? I plan to be one of them. I mean, I was one of them—before social media treated me like a Thanksgiving turkey and carved me up. Think about it: if Facebook and Twitter had just left me alone, I'd be living the high life right now. Millions of dollars, no corporate sponsors dictating my message—just me, my mic, and the truth. But noooo. They squashed me like I was a cockroach on Zuckerberg's marble floors. But here's the kicker: now they're paying the price. Have you seen the state of liberal media? It's like watching a slow-motion car crash where every car is driven by Joy Reid. Joy Reid: The Titanic of Cable News Joy Reid, bless her heart, has lost almost half her audience since the election. "The ReidOut" went from 1.4 million viewers to just 759,000. And among that precious 25-to-54 demographic—the one advertisers actually care about—she's down 52%. Only 76,000 people in that group still tune in. To put that in perspective, more people went to Burning Man this year, and they were stuck in the mud! But do you think she'll change her approach? Of course not. She's so committed to race politics, she's like the Wile E. Coyote of cable news, chasing viewers with ACME talking points while they run off a cliff. Rachel Maddow: $25 Million for Mondays Then there's Rachel Maddow, the star of MSNBC. She's only on one night a week—Mondays—and she's still hemorrhaging viewers. Her audience dropped 43% overall and 56% in the key demo. You'd think with fewer shows, she'd keep more viewers. Nope. She's like a Netflix original: hyped up, overpaid, and canceled by Tuesday. And get this: MSNBC reduced her salary from $30 million a year to $25 million. Oh no, how will she survive? Poor Rachel might have to downgrade her avocado toast. But honestly, if you're paying $25 million for a 56% drop in viewers, you deserve to go broke. Chris Hayes: Proof Anyone Can Fail Up Now let's talk about Chris Hayes, or as I like to call him, "The Guy You Forget Exists." He's lost 56% of his key demo viewers, too. He's pulling in just 73,000 in that group. That's fewer people than show up to a minor league baseball game on a rainy Tuesday. How does he still have a job? Is there a "Participation Trophy" department at MSNBC? Jen Psaki: From White House Lies to Viewer Goodbyes And then there's Jen Psaki. You remember her—Biden's press secretary turned MSNBC host. She's lost 61% of her key demo viewers. 61%! That's not a drop; that's an extinction-level event. It's like she's playing Jenga with her ratings, and someone pulled out the bottom row. Alex Wagner: The Substitute Nobody Asked For Finally, we have Alex Wagner, who stepped into Rachel Maddow's time slot. Big shoes to fill, right? She must've thought, "How bad can it be?" Well, her total viewers are down to 660,000, and her key demo viewers? 72,000. At this rate, she'll be broadcasting to her own family by Christmas. Opportunity Knocks Meanwhile, conservative voices are thriving. We've got the momentum, the truth, and—most importantly—the audience. So, America, let's keep this going. Check out KJRadio.com and Spreely.com. Because unlike Joy Reid, I promise to never bore you to death—or chase you off with nonsensical rants.    [SEGMENT 1-3] Cancerous Leftism 3 – Transition, Daniel Penny, etc. I apologize in advance for this show, because I didn't rip a lot of soundbites. And it is self-serving, because I've chosen today to vent. Now you might say to me, “Kevin, why do you need to vent given all our wins?” And you would be right, so kudos to you. But still, I don't like winning SO BIGLY and still have the opposition, well BREATHING!     "Leftism: The Ultimate Comedy of Errors" Folks, I don't know about you, but living in a world run by Leftists feels like being trapped in an episode of The Twilight Zone. The bad decisions aren't just occasional—they're the plot. You know it's bad when you have to quarantine your lifestyle just to avoid the crazy. You move to suburbia, you homeschool your kids, and you screen every Disney movie like it's a TSA checkpoint. But no matter how hard you try, the crazy creeps in. Leftism is like glitter—it sticks to everything, and no matter how much you try, you can't get rid of it. Let's start with the headliner: Joe Biden. The man is a walking ad for term limits. His presidency is like a Netflix show that should've been canceled after the pilot. And if you think that's bad, imagine the spinoff—Kamala Harris as president. It's like replacing the Titanic with the Hindenburg.Justice? Never Heard of Her Take Daniel Penny, the Marine who stepped in to protect subway passengers. What does he get for his bravery? A trial. Why? Because he's white, and the person he stopped was Black. Now flip the script. A Black man in a similar case gets excused because of a “troubled background.” So, let me get this straight: if you're a victim of systemic oppression, you get a "stab three people free" card? This isn't justice; this is a woke game show. And then there's Derek Chauvin. The media turned him into Public Enemy No. 1. But guess what? The coroner said George Floyd died of a fentanyl overdose, not a knee. Doesn't matter. The Left needed a sacrificial lamb, and Chauvin was it. Truth didn't matter—only the narrative did.The Generation of Freaks Can we talk about what Leftism has done to kids? We now have a generation that can't figure out basic biology. Thanks to woke schools, we're teaching toddlers to question their gender before they can even spell it. It's like giving kids calculus homework before they've learned to count. Drag queens are hailed as heroes, and if you don't clap for them, you're a bigot. I don't remember signing up for RuPaul's Sesame Street. Meanwhile, parents who say, “Hey, maybe let's not confuse our kids,” are labeled extremists. Apparently, protecting your child's innocence is the new radical act.Rewarding Mediocrity The Left doesn't just tolerate failure—they throw it a parade. Look at Kamala Harris. She's celebrated as a trailblazer—a trailblazer for what? Unintelligible speeches? This woman makes Mad Libs sound like Shakespeare. And then there's Hunter Biden. A man born into privilege so high, he probably had a silver spoon surgically implanted at birth. Yet somehow, he's the victim. Meanwhile, J.D. Vance, who clawed his way out of poverty, is called “privileged” because he's white. Here's how woke logic works: if you're rich, white, and a screw-up, you're oppressed. If you're poor, white, and hardworking, you're the oppressor. By this logic, Hunter Biden's laptop identifies as a civil rights icon.Crime Pays—If You're Woke Let's talk about public safety. Crime is through the roof, but Leftists want to defund the police. Makes sense, right? It's like getting rid of lifeguards because people keep drowning. The Marine who protected subway passengers is behind bars, but the 13-year-old who stabbed someone to death in NYC is probably getting a participation trophy. Why? Because he's a migrant. The Left's logic: “Welcome to America—don't forget your free pass to commit murder.”Become a supporter of this podcast: https://www.spreaker.com/podcast/the-kevin-jackson-show--2896352/support.

The Hamlet Podcast - a weekly exploration of Shakespeare's King Lear. Act II Scene ii - Lear returns with Gloucester, furious at being denied access to his daughter and her husband. Written and presented by Conor Hanratty

A man a little before our time, but one who links Joan of Arc, Jack Cade, the Pastons and Shakespeare.   Relevant Episodes - Cameo 39 - Margaret Paston | Tudoriferous   Join our Patreon family for yet more episodes - Tudoriferous | creating a Podcast discussing the great, good and mad Tudor Era | Patreon

[SEGMENT 2-1] More Leftist lunacy 1 Leftism is not just an American disease. But we are the super spreaders. Not us, the people who listen to my program. But the people you ignore, because you find them too tedious to heed. Ignore them no more. You see what can happen when you do.   To paraphrase Shakespeare on how much I detest Leftists: How do I loathe thee? Let me count the ways.I loathe thee to the depth and breadth and spiteMy rage can muster, seeing Leftist blight,From Hunter's laptop to inflation's haze. I loathe thee for the lies spun every day,From "men can birth" to "science lights the way."I loathe thee freely, as you mandate masks;I loathe thee purely, dodging honest tasks. I loathe thee with the passion spared for fools,Who coddle Fauci and ignore his rules.I loathe thee with the grief of every lie,From "peaceful protests" to why prices fly. I loathe thee with my breath, my taxed-out sighs,My rolling eyes at claims that Joe's still spry.And, if God choose, when truth reclaims its throne,I'll loathe thee deeper, for the sins you own.   [X] SB – Katie Hopkins South Korean president impeached. France without a person running the Parliament. No elections until June 2025 Marine LePen could run France Notre Dame opening…invited Trump   Germany VW strike   Argentinian President Javier Milei is ending free social benefits for migrants. As part of his ongoing pro-Argentinian agenda, he will be ending free healthcare for foreigners and automatically deporting foreigners who commit crimes. Sounds pretty sensible to me.     The ACLU lawyer argued that a 2-year-old knows if he's a girl, and could be castrated…   [X] SB – Ketanji Brown-Jackson re transgender decision Justice Alito asking if trans status is immutable is one of the greatest legal questions I've ever seen. Civil Rights exist solely based upon immutable human traits. Gender fluidity, by definition, is not immutable. Pure brilliance by Alito today. Justice Thomas sprung a killer question on the ACLU lawyer: "What remedy are you seeking?" Strangio, flummoxed by such a seemingly simple question said an injunction. Justice Thomas then asked "practically, you would get different treatment based on sex?" and the trap was laid. Strangio said the plaintiff (a girl who identifies as a boy) would be allowed to get drugs for "a typical male puberty" despite having a "birth sex [of] female." That answer made clear that girls who identify as boys would get a right under the Constitution to testosterone, but boys who identify as boys would not, which is...sex discrimination! Genius.  [SEGMENT 2-2] More Leftist lunacy 2 - The View in crisis   The Pathology of Stupidity: A Case Study in “The View” Let's talk about The View, that daytime carnival of cackles, where nuanced debate goes to die and the echo chamber reigns supreme. Apparently, the show's ratings are in the gutter. Shocker! It's like discovering that deep-fried Oreos aren't a health food. According to RadarOnline.com, ABC executives are panicking, grappling with the reality that perhaps parroting the same tired Leftist talking points isn't exactly riveting television. Diversity... But Not Really These execs are reportedly throwing around the word "diversity" like it's a holy grail they just stumbled upon. But let's be clear: The View's definition of diversity starts and ends with making sure the Starbucks order includes soy milk. Political diversity? A broader perspective? Forget it. The panel is a monolith of progressive groupthink, with each member seemingly competing for the "most sanctimoniously out-of-touch" award. It's no surprise they've been labeled a "radical progressive insane asylum" by Meghan McCain, a former co-host. She's not wrong. The lineup is as ideologically varied as a vegan potluck. Ignorance as a Lifestyle Choice Here's the fascinating part: despite the ratings dive, the hosts refuse to even dabble in self-reflection. It's as if they've taken the phrase "ignorance is bliss" and made it their personal mantra. Let's explore the pathology of this blissful ignorance. To live in such a bubble, one must actively avoid the following:Challenging Assumptions: The second someone proposes a viewpoint outside the groupthink, they're immediately shut down. Alyssa Farrah's recent attempt to suggest that Joe Biden might have lied about not pardoning Hunter was met with Whoopi Goldberg's swift correction. And like a scolded puppy, Farrah backed down.Facing Reality: It must hurt, at least a little, to know that even the network higher-ups are tired of the echo chamber. Yet, the hosts seem perfectly content to marinate in their ignorance, like a steak left too long in soy sauce—bitter and mushy.Tension (or Lack Thereof): Successful productions thrive on tension, the kind that sparks intrigue and debate. The View? It's like listening to a jazz band where everyone plays the same note over and over. Even when someone hints at a differing opinion, the dissonance is squashed immediately.A Radical Idea: Testing Theories  [SEGMENT 2-3] More Leftist lunacy 3   I'm so willing to learn. I do sudoku and word games for plasticity of the brain. They say learning something NEW is how you keep your brain active. This is what we should do every day. Challenge yourself. Challenge your mind.   What if the hosts of The View ventured outside their comfort zones? What if they poked a toe into the other side of the political pool, just to see if their theories hold water? Imagine the content! Whoopi Goldberg agreeing to read a book by Thomas Sowell. Joy Behar watching a Trump rally without throwing a shoe at the screen. Sunny Hostin debating Tulsi Gabbard without resorting to ad hominem attacks. The possibilities are endless. But no. Instead, they'd rather bask in the warm glow of their own self-righteousness, convinced that their worldview is the only one worth having. It's like watching people on a sinking ship insist the water is just a new kind of jacuzzi. ABC executives are reportedly considering adding a pro-Trump panelist to spice things up. This move is akin to tossing a lit firework into a room full of dynamite. The current hosts won't know what to do with someone who doesn't immediately genuflect to their ideology. The irony here is rich. Leftists preach inclusivity and tolerance but can't tolerate a single dissenting voice in their midst. It's as if they've confused “diversity” with “uniformity in different hairstyles.” Is Ignorance Really Bliss? There's a saying: “If you're the smartest person in the room, you're in the wrong room.” The View ladies have managed to flip that on its head. They've created a room where being the dumbest is not only acceptable—it's celebrated. But ignorance, when worn as a badge of honor, does have consequences. At some point, reality comes knocking. For The View, that reality is sinking ratings, viewer fatigue, and the slow realization that parroting the same old talking points isn't working anymore. Why It Hurts Too much ignorance does hurt, even if they won't admit it. It's exhausting to constantly defend indefensible positions, to pretend that every gaffe by Biden is "fatherly love" and every Trump move is the end of democracy. At some point, the mental gymnastics have to take a toll. Or maybe not. Maybe they've transcended reason entirely and live in a state of perpetual denial, where facts are suggestions and logic is just a suggestion box no one checks. Final Thoughts If The View truly wants to save itself, it needs to embrace genuine diversity—not just in appearance but in thought. Until then, it will remain a cautionary tale of what happens when you marinate too long in your own sauce.      [SEGMENT 2-4] More Leftist lunacy 4 - CEO shot   [X] SB – Fox News on CEO got shot https://x.com/BNONews/status/1864531627755336119 The CEO of insurance giant UnitedHealthcare, Brian Thompson, who was fatally gunned down in Manhattan today, was under DOJ investigation. Was he about to take a plea deal and reveal all about congressional favors that gained them their monopoly? Someone check on Nancy Pelosi. On February 21, 2024, UnitedHealth discovered a cybersecurity breach. On the same day, Nancy Pelosi made her second purchase of call options in Palo Alto Networks, a cybersecurity company that was later chosen to investigate the breach. UnitedHealthcare CEO Brian Thompson was k*lled by a masked gunman today in the middle of a federal investigation led by the U.S. Department of Justice. Brian Thompson, CEO of UnitedHealthcare, was shot and killed in what looks like a professional hit job. The targeted killing occurred around 6:45 AM, outside the New York Hilton Midtown, where an investors meeting was being held. In the video footage, the killer is seen shooting Mr. Thompson Become a supporter of this podcast: https://www.spreaker.com/podcast/the-kevin-jackson-show--2896352/support.

After working at Pizza Hut in his twenties, Mackenzie Crook suddenly shot to fame playing the hapless paper salesman Gareth Keenan in the smash-hit BBC comedy “The Office” Since then, he's starred in blockbuster franchises including Pirates of the Caribbean and Game of Thrones, as well as Shakespeare, Dickens and his beloved Worzel Gummidge. He also created, directed and starred in the charming comedy-drama Detectorists, playing one half of an eccentric metal-detecting duo, alongside Toby Jones, which prompted Mackenzie to take up the hobby and search for real-life treasure.So – headphones on – let's start scanning – and see what we can uncover among Mackenzie Crook's Inheritance Tracks... Inherited: Big Yellow taxi by Joni Mitchell Passed on: River Man by Nick DrakeProducers: Ben Mitchell and Anna Bailey

Hey Airheads! After Lord Trae Grills Professor CHO on a late night drunk dial over thanksgiving (And discussions of Thanksgiving in general) Professor CHO follows up with the long awaited start of The Road to Henry V, by first discussing his predecessors: his father Henry IV, and his cousin Richard II (who may or may not have held him captive!) StayFancyMerch.com is where you can find the new shirt Corey was rocking in this episode, and much more! Come see us in NASHVILLE Dec 12-14... grab them tickets and tickets to all of Trae's dates at TraeCrowder.com Corey will be doing solo shows in CHATTANOOGA, TN on Dec 20-21, and you can grab those tickets at TheComedyCatch.com Check out our sponsors this week! The holidays are here and True Classic's ultra-comfortable, perfect-fitting essentials make for the perfect gift for you and the men in your life. So, if you're ready to upgrade your closet, shop now and unlock big savings during their HUGE holiday sale.  Just go to my exclusive link at TrueClassic.com/POA to save. Mando's Starter Pack is perfect for new customers. It comes with a Solid Stick Deodorant, Cream Tube Deodorant, two free products of your choice (like Mini Body Wash and Deodorant Wipes), and free shipping. As a special offer for listeners, new customers get $5 off a Starter Pack with our exclusive code. That equates to over 40% off your Starter Pack. Use code POA at ShopMando.com Go to BlueChew.com and use Promo Code POA to try Blue Chew FREE! https://hellotushy.com/POA is where you can save BIG on the fanciest way to clean up that booty! Skeeeww!  Head to FACTORMEALS.com/50poa and use code 50poa to get 50% off your first box plus free shipping. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Welcome to another Cinema Sounds & Secrets Tribute episode! This week Janet, John, (and Pen) explore the extensive career (spanning over seven decades) of the truly remarkable British actress Maggie Smith. Born on December 28, 1934, in Ilford Essex, England, despite never having gone to the theater and being considered "too common" to be onstage, Smith grew up with a love for Shakespeare and was encouraged to act by her English teacher. In 1952, at 17 years old, her career began as Viola in Shakespeare's "Twelfth Night.” Smith received international fame for her role as Violet Crawley in Downton Abbey (2010–2015) and is known for films including Othello (1965), The Prime of Miss Jean Brodie (1969), Travels with My Aunt (1972), California Suite (1978) A Room with a View (1985), Gosford Park (2001), the Harry Potter film series (2001–2011), Death on the Nile (1978), Hook (1991), Sister Act (1992), The Secret Garden (1993), The Best Exotic Marigold Hotel (2012), Quartet (2012) The Lady in the Van (2015) and more. To learn more about this episode and others, visit the Official Cinema Sounds & Secrets website. And check out our Instagram, @cinemasoundspod!

Helen and Gavin chat about A Man on the Inside, Blitz, and Gladiator II, and it's Week 36 of the list of Oscar Best Picture Winners from 1999 and 2000; Shakespeare in Love, and American Beauty.

12/5/24 - Joseph Pearce is the author of numerous literary studies, including Literary Converts, The Quest for Shakespeare, and Shakespeare on Love, as well as biographies on Oscar Wilde, J. R. R. Tolkien, C. S. Lewis, G. K. Chesterton, and Aleksandr Solzhenitsyn. He is the general editor of the Ignatius Press Critical Editions series. It has been said, quite correctly, that we write as well as we read. It can also be said that we think as well as we read. Since reading well is so important, it is good to get into the habit of reading good books. The better the book, the better will be our ability to think well and write well. In Classic Literature Made Simple: Fifty Great Books in a Nutshell, literary expert Joseph Pearce takes the reader on a guided tour of fifty great works of literature. The author of over thirty books, Pearce uses his experience of teaching literature at the college level for over twenty years to show the reader the moral dimension of each work. He shows how each work presents a mystical mirror to the reader, offering insights into the meaning of life itself. Get the book at https://ignatius.com/classic-literature-made-simple-clmsp/ Find more of Joseph Pearce's great work at https://jpearce.co/

Le "paradoxe du singe savant" est une expérience de pensée fascinante qui illustre des concepts de probabilité et d'infinité. Il repose sur l'idée suivante : imagine un singe frappant aléatoirement les touches d'une machine à écrire pendant une durée infinie. Le paradoxe suggère que, dans un tel contexte, ce singe finirait par taper tous les textes possibles, y compris les œuvres complètes de Shakespeare, par pur hasard. Ce paradoxe se base sur la notion mathématique d'événements aléatoires sur une période infinie. En théorie, si on laisse un nombre infini de séquences de lettres se produire, même les combinaisons les plus complexes ou improbables finiront par apparaître. Cela ne signifie pas que le singe est intelligent ou qu'il comprend ce qu'il tape ; il s'agit simplement de l'effet de l'aléatoire lorsqu'on lui donne un temps illimité. En termes de probabilité, l'idée est que la chance de taper une œuvre spécifique, comme Hamlet, en une seule tentative est astronomiquement faible. Pour donner une idée : si un singe tape une suite de lettres aléatoirement, les chances de produire ne serait-ce que la première phrase de Hamlet sont si minimes qu'elles frôlent l'impossible. Pourtant, avec un temps infini, ces chances, aussi minuscules soient-elles, finiraient par se réaliser. C'est le principe des événements rares qui deviennent inévitables lorsqu'on augmente le nombre de tentatives jusqu'à l'infini. Alors, le paradoxe du singe savant a-t-il de la valeur ? En un sens, oui, mais principalement en tant qu'outil conceptuel pour comprendre la théorie des probabilités et l'infini. Il est utile pour expliquer comment des événements improbables peuvent se produire dans des contextes spécifiques. Par exemple, il aide à comprendre pourquoi certaines séquences semblent extraordinaires ou comment le hasard peut générer de la complexité. Cependant, le paradoxe est avant tout théorique. Dans le monde réel, où les ressources (temps, espace, etc.) sont limitées, ce concept n'a pas d'applications pratiques directes. Personne n'a un temps infini pour tester de telles expériences, et elles ne se produisent pas naturellement. Malgré cela, l'idée reste précieuse pour illustrer des concepts abstraits de mathématiques et de logique, et elle est souvent utilisée comme exemple pour discuter des idées liées à l'aléatoire et à l'infini dans divers contextes scientifiques et philosophiques. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The brothers are back to talk about a variety of things and aren't shy that they are off track early on this one. First, Dickie and Madrox cover the "creepy clown trend of 2016," that turns into Madrox trying to explain slasher flicks to Dickie and then the art of subtle storytelling in wrestling.Please consider supporting us on Patreon! Patreon.com/MadBashStudios-Socials-MadBashStudios.comFacebook: https://www.facebook.com/MadBashStudios-MadBash Studios is powered by powered by-patreon.com/MadBashStudiosElite Pro Wrestling: www.eliteprofessionalwrestling.com/Venom Energy: https://www.venomenergy.com/Music: "Deep and Dirty" Kevin MacLeod (incompetech.com, Licensed under Creative Commons: By Attribution 4.0 Licensehttp://creativecommons.org/licenses/by/4.0/Support the show

This week on the Primo episode, Jesse and Katie discuss the cancelation of streamer Dr. DisRespect. Plus, multiple personalities and our own millennial Shakespeare.Multiple personality diagnosis confusing, not unbelievable, jury told in man's child abuse trial - ABC News To hear more, visit www.blockedandreported.org

This episode begins with the recognition that, what the United Nations calls “the biggest election year ever recorded,” has left most countries on Earth more divided and less free. Any issue that arises quickly becomes another example of two opposing attitudes or conflicting views of life. As increased polarization fractures any sense of civil society, people come to believe that they literally live in two different worlds that are essentially unreconcilable.   Following a line from Shakespeare, Michael Meade considers the idea that we are in “a prison of our own making” if we believe we are simply living in two different stories. Rather, it is our mutual fate to be alive at a time when the underlying tensions of life rise to the surface. We are all in the same story which can either lead to a meaningful transformation of life on earth or leads us further down the road to oblivion.   Although people commonly now feel that we live on opposite sides in a divided world, the deeper divide and the more damning prison of our own making occurs when we forget that as humans we have always lived in two worlds. The heart of humanity has always been stretched between the ground of Earth and the endless expanse of the heavens. Humanity has always dwelt in the betwixt and between, the liminal space between the throes of hard reality and the wonders of great imagination.   We are most human when we suffer the tension of the opposites in order to find again the threads to the ongoing story of creation and the renewal of the world. The trouble is that genuine visions and meaningful revelations of the way out of the darkness tend to appear only after all the more rational, familiar and predictable ways of seeing and being have failed.   In truly critical times, we can't solve our problems at the same level in which they were created. We become more trapped in time, more stuck in blind beliefs and more caught in despair when we have no other level of life to turn to. If there is no otherworld of spirit and imagination, there can be nowhere to turn to when everything around us becomes more irrational, more dehumanizing and increasingly chaotic.   As has happened at other critical times here on Earth, the keys for unlocking this prison of our own making have to include an awakening to the sense that there is an otherworld that exists right beside this world, that extends far beyond the political world, a realm that is not ruled by the blind march of time, but rather is connected to and can reconnect us to things eternal. Thank you for listening to and supporting Living Myth. You can hear Michael Meade live by joining him for two free online events: “Living Authentically in Uncertain Times” on Thursday, December 5 and his online Solstice ritual “In This Darkness Singing” on Friday, December 20.  Register and learn more at mosaicvoices.org/events. You can further support this podcast by becoming a member of Living Myth Premium. Members receive bonus episodes each month, access to the full archives of over 700 episodes and a 30% discount on all events, courses and book and audio titles. Learn more and join this community of listeners at patreon.com/livingmyth. If you enjoy this podcast, we appreciate you leaving a review wherever you listen and sharing it with your friends. On behalf of Michael Meade and the whole Mosaic staff, we wish you well and thank you for your support of our work.

In this episode Andrew Pudewa and Julie Walker continue to discuss and provide tips for teaching through the final five units from Teaching Writing: Structure and Style® if you are not using one of the theme-based lessons or the Structure and Style for Students video courses. GO TO PART 1 Referenced Materials “Understanding Topic-Clincher Sentences with Unit 4” “Asking Questions with Unit 5” “Streamlining Research with Unit 6” “Filling the Blank Page with Unit 7” “Writing Essays with Unit 8” “Critiquing Literature with Unit 9” “Lesson Planning” article by Andrew Pudewa How to Think like Shakespeare: Lessons from a Renaissance Education by Scott Newstok Episode 398: Think like Shakespeare, Part 1 If you have questions for Andrew, send them to podcast@IEW.comPerhaps your question will be answered at the next Ask Andrew Anything (AAA). If you have questions about IEW products or classes, contact customer service at 800.856.5815 or info@IEW.com

On the night of Friday, 13 November 2015, three suicide bombers blew themselves up outside the Stade de France during a football match between France and Germany, attended by President François Hollande. By 1am the next morning, 130 victims were dead, and 416 others were injured, many critically. Seven attackers were killed, and two more died in a shootout with police days later.In September 2021, nearly six years later, the trial of 20 men accused of involvement in the attacks began in a specially built courtroom near the Palais de Justice. Fourteen were present, six tried in absentia, and only one, Salah Abdeslam, had directly participated in the attacks. The others were involved in planning, logistics, or assisting the terrorists. With many defendants refusing to testify and the trial featuring mostly secondary figures, some doubted whether it would be meaningful. However, in V13, Emmanuel Carrère's gripping account, it becomes clear that the trial was far from a failure. As he writes, it became "a unique experience of horror, pity, proximity and presence.” The book, based on Carrère's weekly dispatches for L'Obs, immerses readers in the trial, offering a vivid, firsthand perspective of this historic event.Buy V13: https://www.shakespeareandcompany.com/books/v13*Emmanuel Carrère, novelist, filmmaker, journalist, and biographer, is the award-winning internationally renowned author of The Adversary (a New York Times Notable Book), Lives Other Than My Own, My Life As A Russian Novel, Class Trip, Limonov and The Mustache.Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

In this college deep dive Peter Reynolds, the Head of Musical Theater at Temple University and MTCA Director Charlie Murphy discuss: The diversity at Temple University  Performance opportunities outside of school  The importance of Wild Card videos  Taking in the UArts Students  Check out our MEET MTCA Workshop HERE! If you have any questions about the college audition process, feel free to reach out at mailbag@mappingthecollegeaudition.com. If you're interested in working with MTCA for help with your individualized preparation for your College Audition journey, please check us out at mtcollegeauditions.com, or on Instagram or Facebook.  Follow Us!  Instagram: @mappingthecollegeaudition YouTube: @MTCA (Musical Theater College Auditions)  TikTok: @mtcollegeauditions  Charlie Murphy:@charmur7  About MTCA:  Musical Theater College Auditions (MTCA) is the leader in coaching acting and musical theater students through the college audition process and beyond with superlative results. MTCA has assembled a roster of expert artist-educators who can guide students artistically, organizationally, strategically, and psychologically through the competitive college audition process. MTCA provides the tools, resources, and expertise along with a vast and strong support system. They train the unique individual, empowering the artist to bring their true, authentic self to their work. MTCA believes that by helping students reveal their potential it allows each school to connect with those who are truly right for their programs, which in turn guides each student toward their best college fit.  About Charlie Murphy:  Charlie is a proud graduate of Carnegie Mellon University's BFA program. As an Actor he has performed with theaters such as: NY Public Theatre's “Shakespeare in the Park”, The Pearl Theatre Company, Hudson Valley Shakespeare Festival, Chautauqua Theatre Company, Kinetic Theatre Company, and the Shakespeare Theatre of DC. With MTCA [Musical Theater College Auditions -- mtca.nyc], he has been helping prospective theatre students through the college process for over 15 years. As a Teacher and Director, he is able to do a few of his favorite things in life: help students to find their authentic selves as artists, and then help them find their best fit for their collegiate journey. Through this podcast, he hopes to continue that work as well as help demystify this intricate process. This episode was produced by Kelly Prendergast. Episode theme music is created by Will Reynolds with Additional Vocals from Elizabeth Stanley Learn more about your ad choices. Visit megaphone.fm/adchoices

The North American tour of & Juliet is coming soon to a city near you! Featuring the songs of Max Martin, & Juliet gives Shakespeare a pop-music rewrite. On this episode of the pod, get to know some of the people who made this musical spectacular. First up, Paul Wontorek talks to Schitt's Creek Executive Producer/Writer, David West Read, who penned the book of & Juliet. And a little later, Beth Stevens chats with the musical's Tony Award-winning costume designer, Paloma Young.

Due to Robert Eggers' new film "Nosferatu" coming out on Christmas this month, the A24 Rocks crew decided to review his 2022 Nordic epic "The Northman" for this A24 Vibe Discussion. Starring Alexander Skarsgård, Anya Taylor-Joy, and Nicole Kidman: The Northman is a take on the Old Norse tale "Amleth" that Shakespeare turned into Hamlet. What will these film reviewers think of Robert Eggers' third film after directing two of the most acclaimed A24 films in the film studio's history? Caution: movie spoilers. Intro- 0:00 to 5:01. Film Discussion- 5:01 to 57:52. Film Rating and Outro- 57:52 to End. --- Support this podcast: https://podcasters.spotify.com/pod/show/a24otr/support

It's time for our annual bonus episode! Join us as we revisit the Shakespeare plays we covered this year. We've gone back and re-read both Romeo and Juliet and Much Ado About Nothing, and we will discuss what has changed in our readings of these plays after completing our research as well as what we would like to see more (or less) of in future productions or research relating to these two plays.  Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast by becoming a patron at patreon.com/shakespeareanyone, sending us a virtual tip via our tipjar, or by shopping our bookshelves at bookshop.org/shop/shakespeareanyonepod. Works referenced: Shakespeare, William. Much Ado About Nothing: Revised Edition. Edited by Claire McEachern, 2nd ed., Bloomsbury Publishing, 2016. Shakespeare, William, and René Weis. Romeo and Juliet: Revised Edition. Bloomsbury Publishing Plc, 2012.

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

“It's that juxtaposition of very grand figures from history and the very bog standard person. They're also two boys who are overlooked by life, and I think that connected them.” ~Louise Kulup Little is known about Hamnet Shakespeare, the son of the Bard himself, who died aged 11. But it's thought his death shaped much of Shakespeare's late works, including the famously melancholy King John. But now Hamnet has been brought to life in an unique and exciting way. Louise Kulup is the author of ‘Bard Boy', which sees Hamnet return from the grave to haunt (and mentor) a 13 year old London schoolboy called Ben. Aimed at a middle-grade audience, the novel blends history, humour and supernatural elements. During this conversation Louise and Mark discuss the intriguing genesis of the book, which is surprisingly autobiographical given its supernatural twist. They explore the ups and downs of Louise's writing journey, and how it saved her from a dark time in her life. And they tap into Louise's career as an editor and publisher, to share useful advice and common writing pitfalls to avoid. In this episode, you will learn: Why you shouldn't be afraid of self-publishing To embrace the joy of writing and the comfort it brings The challenges that come with writing for children  Find out more about Louise here and here. Your host is inkjockey founder Mark Heywood. Behind The Spine is an inkjockey production, and the audio accompaniment to The Writing Salon. Sign up to the newsletter here. Follow inkjockey on Substack here. You can buy copies of our anthology series here.  You can view the full transcript here. Connect with the show: Instagram: https://www.instagram.com/behindthespinepodcast/ Facebook: https://www.facebook.com/BehindTheSpine Twitter: https://twitter.com/BehindTheSpine Website: www.behindthespine.co.uk

As part of our special series on alternative models of education, I'm sitting down with Michael Fitzgerald, principal of Northern Schoolhouse, an upstate New York private school focused on classical literature and art, immersion in nature, and nurturing strong moral character based on time-tested virtues.“This is the trend in education: ‘It doesn't matter what you're reading, as long as you're reading.' And I actually disagree with that. I think it's very important what you're reading,” Fitzgerald says.“In the end, we want them becoming autonomous people who know how to move themselves well through the world, as truly good people who recognize beauty,” he says.“If you recognize beauty, you can recognize what's good. And those are highly correlated in the classical world, especially in the Socratic sense. They talk a lot about truth, beauty, and goodness.”Views expressed in this video are opinions of the host and the guest, and do not necessarily reflect the views of The Epoch Times.

In this episode, I got to talk with Simon Critchley about his new book Mysticism. We delve into Critchley's journey towards exploring mysticism, his reflections on modernity, and his discussions on key figures like William James, Julian of Norwich, and Meister Eckhart. We also discuss the importance of reading and understanding mystical texts, the role of prayer, and how modernity has impacted our perception of faith and spirituality. His engagement with mysticism beyond the confessional boundaries in which it so often emerges makes the topic and the book a timely reflection for our contempora