Podcasts about sirius xm radio

In this episode we discuss our impressions of Cooper Flagg, Ryan Nembhard, and Miles Kelly from NBA Summer League. We talk about how well Cooper has handled the aggressive defensive pressure, along with how he impressively bounced back from a lackluster Summer League debut for a 31-point performance against the Spurs in the second game. We talk about how he's an ideal fit for Jason Kidd's transition offense, and how his skill of drawing fouls will help him make an even greater impact in the NBA. We then talk about how while Nembhard and Kelly have had up-and-down performances in Summer League, they both have demonstrated skills valuable in the NBA. Finally, we discuss Mark Cuban's interview with Sirius XM Radio at Summer League and why the Mavs' victory lap after winning the Draft Lottery has been very annoying. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit mavsfilmroom.substack.com

Special Guests:   • Brian Fienhold, Dallas Safari Club  • Rob McCanna, Dallas Safari Club Meet Kinder Outdoors Pro Staff...

Paradise is back y'all!! And shoutout to the new showrunner, these elevated camera angles, and this budget!! Listen to Rachel on The Smith Sisters Live on Sirius XM Radio. Check out The Smith Sisters Live on Instagram. Follow Rachel on Instagram. This episode is brought to you by Quince. To get the softest towels, the best sheets, and the chicest accessories, go to www.quince.com/2bg1r for free shipping and returns on us!  Listen to our PRE-SHOW and watch us on VIDEO only on Patreon. Join the Rose Garden today! CONNECT WITH US: Instagram | Twitter | TikTok | Merch EMAIL: 2blackgirls1rose@gmail.com Follow Natasha's Substack The Nite Owl: theniteowl.substack.com Follow Justine for beauty content: @justlydiak Learn more about your ad choices. Visit podcastchoices.com/adchoices

Special Guests:   • Ott DeFoe, MLF Pro Angler  • Wally Marshall, "Mr. Crappie", Pro Staff  • Shawn Van Liere, Pro Staff  • Ray Sasser (1948 to 2018) Meet Kinder Outdoors Pro Staff...

Onside/Offside l Fozzy Whittaker, Longhorn Network and SiriusXM Radio, joins the show l Instant reaction to Lakers' signing of DeAndre Ayton

Special Guests:   • Larry Weishuhn, Pro Staff  • Lindsay Thomas, Jr.-National Deer Association  • Ronnie Smith, Pro Staff  • Mark Davis, Bass Fishing Hall of Fame Meet Kinder Outdoors Pro Staff...

Send us a textOur Patreon - https://www.patreon.com/HockeyCardsGongshowOn this special episode of the Hockey Cards Gongshow podcast we bring you three interesting conversations from around the hobby:Karn Rai from Slab Sharks discusses their 2023-24 Ultimate Collection Connor Bedard Rookie NHL Shield Auto 1/1 listing and his strategy to break an eBay hockey card record with this Bedard hobby grail (11:19).The 2025 NHL Entry Draft is this week and Russ Cohen from NHL Draft Buzz, Sportsology, SiriusXM Radio and Locked On Flyers helps us break down this year's top talent and who could make an NHL impact in 2025-26 (1:04:55).Upper Deck's Patrick Smith joins the show to talk about the incredible details he put into 2024-25 Parkhurst champions to honor the 1953-54 Parkhurst set (2:04:34).Partners & SponsorsHockeyChecklists.com - https://www.hockeychecklists.comSlab Sharks Consignment - http://bit.ly/3GUvsxNSlab Sharks is now accepting U.S. submissions!MINTINK - https://www.mintink.caPSA - https://www.psacard.comGP Sports Cards - https://gpsportcards.com/Sign up for Card Ladder - https://app.cardladder.com/signup?via=HCGongshoFollow Hockey Cards Gongshow on social mediaInstagram - https://www.instagram.com/hockey_cards_gongshow/TikTok - https://www.tiktok.com/@hockey_cards_gongshowFacebook - https://www.facebook.com/HockeyCardsGongshowTwitter - https://twitter.com/HCGongshowThe Hockey Cards Gongshow podcast is a production of Dollar Box Ventures LLC

Special Guests:   • Neil & Alex Turner, Okie School of Adventure  • Jay Yelas, Cast for Kids-ED  • Ray Sasser (1948 to 2018) Meet Kinder Outdoors Pro Staff...

Special Guests:   • Walt Garrison (1944 to 2023)  • Ron Miskin, The Buffalo Wool Co.  • Greg Davis, Tuff Skinz  • Rob McCanna, DSC CEO  • Larry Weishuhn, Pro Staff  • Ray Sasser (1948 to 2018)  • Tom Dokken, Pro Staff Meet Kinder Outdoors Pro Staff...

Special Guests:   • Karl Gunzer, Pro Staff  • Kelly Jordan, Pro Staff  • Delmar Smith & Bob West, Birddog ICONS  • Larry Weishuhn, Pro Staff  • Pete Delkus, Pro Staff Meet Kinder Outdoors Pro Staff...

Special Guests:   • Pete Delkus, Pro Staff  • Chris Thomsen, Alaska Guide  • Joel Ham, Land Owner  • Larry Weishuhn, Pro Staff Meet Kinder Outdoors Pro Staff...

“You've got to be willing to kick your sources right in the balls if necessary, even if they're your friends.” Julie Mason came up the ranks at regional newspapers before becoming a White House reporter. On her SiriusXM radio show, you can tell how much she loves and champions good reporters and reveres excellent journalism. And that's one of the many reasons we love Julie Mason! So we're re-booting our most recent conversation with Julie from earlier this year...   In this episode, host Corey Nathan reconnects with Julie Mason, renowned journalist and host of The Julie Mason Show on SiriusXM's POTUS channel. Julie brings decades of experience in journalism, spanning local, state, and national politics, and shares her sharp insights on the evolving media landscape, political discourse, and the state of journalism today. What We Discuss: The evolving role of journalists in a polarized media environment. How to navigate news consumption and discern credible sources. Insights into the challenges of covering politicians and divisive topics. The growing intersection between social media platforms and journalism. Why re-engaging with quality news content is critical to democracy. Mike Pence: The King of Hilarity... Wait. WHAT?!?! No, really Episode Highlights: [00:00:00] – Corey welcomes Julie back to the podcast after four years and reflects on her journey in journalism, from print reporting to hosting her SiriusXM show. [00:09:00] – Julie explains how she transitioned from print to radio and why she took the leap into the unfamiliar world of broadcasting. [00:20:00] – The challenges of modern journalism: Julie addresses disinformation, lies in politics, and why reporters must focus on stories that truly impact people's lives. [00:27:00] – A discussion on how journalism is evolving to meet the needs of a fatigued audience, from long-form storytelling to true crime podcasts. [00:40:00] – Julie emphasizes the importance of journalists remaining stoic and professional, especially during major historical events like January 6th. [00:47:00] – Corey and Julie explore ways to have constructive conversations with people across ideological divides, drawing inspiration from bipartisan efforts in Congress. [00:55:00] – Julie's call to action: Why supporting quality journalism through subscriptions and active engagement matters more than ever. Featured Quotes: “You've got to be willing to kick your sources right in the balls if necessary, even if they're your friends.” “Politician lied is not really the story—focus on what impacts people's lives.” “To have meaningful conversations, you have to put down your weapons and see the humanity in the other person.” Resources Mentioned: The Julie Mason Show on SiriusXM's POTUS Channel – www.siriusxm.com/channels/potus-politics  Substack Recommendations: The Great Transformation with Mike Madrid Tom LoBianco's 24Sight Oliver Darcy's Substack The Contrarian by Jennifer Rubin and Laurence Tribe Dirty John Podcast – Listen Here

“You've got to be willing to kick your sources right in the balls if necessary, even if they're your friends.” Julie Mason came up the ranks at regional newspapers before becoming a White House reporter. On her SiriusXM radio show, you can tell how much she loves and champions good reporters and reveres excellent journalism. And that's one of the many reasons we love Julie Mason! So we're re-booting our most recent conversation with Julie from earlier this year...   In this episode, host Corey Nathan reconnects with Julie Mason, renowned journalist and host of The Julie Mason Show on SiriusXM's POTUS channel. Julie brings decades of experience in journalism, spanning local, state, and national politics, and shares her sharp insights on the evolving media landscape, political discourse, and the state of journalism today. What We Discuss: The evolving role of journalists in a polarized media environment. How to navigate news consumption and discern credible sources. Insights into the challenges of covering politicians and divisive topics. The growing intersection between social media platforms and journalism. Why re-engaging with quality news content is critical to democracy. Mike Pence: The King of Hilarity... Wait. WHAT?!?! No, really Episode Highlights: [00:00:00] – Corey welcomes Julie back to the podcast after four years and reflects on her journey in journalism, from print reporting to hosting her SiriusXM show. [00:09:00] – Julie explains how she transitioned from print to radio and why she took the leap into the unfamiliar world of broadcasting. [00:20:00] – The challenges of modern journalism: Julie addresses disinformation, lies in politics, and why reporters must focus on stories that truly impact people's lives. [00:27:00] – A discussion on how journalism is evolving to meet the needs of a fatigued audience, from long-form storytelling to true crime podcasts. [00:40:00] – Julie emphasizes the importance of journalists remaining stoic and professional, especially during major historical events like January 6th. [00:47:00] – Corey and Julie explore ways to have constructive conversations with people across ideological divides, drawing inspiration from bipartisan efforts in Congress. [00:55:00] – Julie's call to action: Why supporting quality journalism through subscriptions and active engagement matters more than ever. Featured Quotes: “You've got to be willing to kick your sources right in the balls if necessary, even if they're your friends.” “Politician lied is not really the story—focus on what impacts people's lives.” “To have meaningful conversations, you have to put down your weapons and see the humanity in the other person.” Resources Mentioned: The Julie Mason Show on SiriusXM's POTUS Channel – www.siriusxm.com/channels/potus-politics  Substack Recommendations: The Great Transformation with Mike Madrid Tom LoBianco's 24Sight Oliver Darcy's Substack The Contrarian by Jennifer Rubin and Laurence Tribe Dirty John Podcast – Listen Here

Special Guests:   • Joel Kolander, Rock Island Auction  • Wally Marshall, "Mr. Crappie"  • Larry Weishuhn, Pro Staff  • Capt. Steve Stapleton, TPWD  • Ronnie Smith, Pro Staff Meet Kinder Outdoors Pro Staff...

Special Guests:   • T. Boone Pickens (1928 to 2019)  • Lefty Kreh (1925 to 2018)  • Tom Knapp (1950 to 2013)  • General Chuck Yeager (1923 to 2020)  • Tom Dokken, Pro Staff Meet Kinder Outdoors Pro Staff...

Special Guests:   • Skeet Reese, Bass Fishing ICON  • Jim Zumbo, Outdoor ICON  • Jim Shockey, Outdoor ICON Meet Kinder Outdoors Pro Staff...

Special Guests:   • Jim Shockey, Outdoor ICON  • Anthony Pace, Freedom Hunters  • Kelly Jordan, Pro Staff  • Larry Weishuhn, Pro Staff  • Wally Marshall, "Mr. Crappie"  • Pete Delkus, Pro Staff Meet Kinder Outdoors Pro Staff...

Special Guests:   • Jimmy Houston, Fishing ICON  • Roland Martin, Fishing ICON  • Brian Lynn, Sportsmen's Alliance  • Larry Weishuhn, Pro Staff  • Ray Sasser (1948 to 2018) Meet Kinder Outdoors Pro Staff...

Special Guests:   • Scot McClure, Director of Education - Outdoors Tomorrow Foundation  • Lindsay Beaton, Educator of the Year - OTF Educator of the Year  • Ray Eye, Turkey Hunting ICON  • Larry Weishuhn, Pro Staff  • Ronnie Smith, Pro Staff  • Ray Sasser (1948 to 2018) Meet Kinder Outdoors Pro Staff...

THE TIM JONES AND CHRIS ARPS SHOW 0:00 SEG 1 Recapping the Glenn Jacobs/Kane event at The St. Charles Funny Bone with AFP-Missouri The Speaker's Stump Speech is brought to you by https://www.hansenstree.com/ and is about the reason for the Easter season 19:27 SEG 2 Stacy Washington, Sirius XM Radio and Salem TV host | TOPIC: Her book Eternally Cancel Proof: A Guide for Courageous Christians Navigating the Political Battlefront | In Eternally Cancel Proof, Washington chronicles her journey into a deeper Christian faith and political conversion from liberal Democrat to conservative Republican.https://x.com/StacyOnTheRight https://www.instagram.com/stacyontheright/ 34:53 SEG 3 Kyerra Johnson is a black woman running in Missouri as a Republican | 19 million people watched the Masters playoff https://newstalkstl.com/ FOLLOW TIM - https://twitter.com/SpeakerTimJones FOLLOW CHRIS - https://twitter.com/chris_arps 24/7 LIVESTREAM - http://bit.ly/NEWSTALKSTLSTREAMS RUMBLE - https://rumble.com/NewsTalkSTL See omnystudio.com/listener for privacy information.

THE TIM JONES AND CHRIS ARPS SHOW Stacy Washington, Sirius XM Radio and Salem TV host | TOPIC: Her book Eternally Cancel Proof: A Guide for Courageous Christians Navigating the Political Battlefront | In Eternally Cancel Proof, Washington chronicles her journey into a deeper Christian faith and political conversion from liberal Democrat to conservative Republican.https://x.com/StacyOnTheRight https://www.instagram.com/stacyontheright/ https://newstalkstl.com/ FOLLOW TIM - https://twitter.com/SpeakerTimJones FOLLOW CHRIS - https://twitter.com/chris_arps 24/7 LIVESTREAM - http://bit.ly/NEWSTALKSTLSTREAMS RUMBLE - https://rumble.com/NewsTalkSTL See omnystudio.com/listener for privacy information.

THE TIM JONES AND CHRIS ARPS SHOW 0:00 SEG 1 Recapping the Glenn Jacobs/Kane event at The St. Charles Funny Bone with AFP-Missouri The Speaker's Stump Speech is brought to you by https://www.hansenstree.com/ and is about the reason for the Easter season 19:27 SEG 2 Stacy Washington, Sirius XM Radio and Salem TV host | TOPIC: Her book Eternally Cancel Proof: A Guide for Courageous Christians Navigating the Political Battlefront | In Eternally Cancel Proof, Washington chronicles her journey into a deeper Christian faith and political conversion from liberal Democrat to conservative Republican.https://x.com/StacyOnTheRight https://www.instagram.com/stacyontheright/ 34:53 SEG 3 Kyerra Johnson is a black woman running in Missouri as a Republican | 19 million people watched the Masters playoff https://newstalkstl.com/ FOLLOW TIM - https://twitter.com/SpeakerTimJones FOLLOW CHRIS - https://twitter.com/chris_arps 24/7 LIVESTREAM - http://bit.ly/NEWSTALKSTLSTREAMS RUMBLE - https://rumble.com/NewsTalkSTL See omnystudio.com/listener for privacy information.

THE TIM JONES AND CHRIS ARPS SHOW Stacy Washington, Sirius XM Radio and Salem TV host | TOPIC: Her book Eternally Cancel Proof: A Guide for Courageous Christians Navigating the Political Battlefront | In Eternally Cancel Proof, Washington chronicles her journey into a deeper Christian faith and political conversion from liberal Democrat to conservative Republican.https://x.com/StacyOnTheRight https://www.instagram.com/stacyontheright/ https://newstalkstl.com/ FOLLOW TIM - https://twitter.com/SpeakerTimJones FOLLOW CHRIS - https://twitter.com/chris_arps 24/7 LIVESTREAM - http://bit.ly/NEWSTALKSTLSTREAMS RUMBLE - https://rumble.com/NewsTalkSTL See omnystudio.com/listener for privacy information.

Special Guests:   • Gary Klein, MLF Pro Angler, Pro Staff  • Chris Lane, MLF Pro Angler  • Boyd Duckett, MLF Co-Founder  • Leslie Martens, Wife of Aaron Marten  • Kevin VanDam, Professional Fishing ICON  • Keith Conley, MLF Official  • Logan Hall, TTHA  • Skeet Reese, Mark Davis, Boyd Duckett, Edwin Evers, Bobby Lane, Mark Daniels, Jr., Ott DeFoe Meet Kinder Outdoors Pro Staff...

Fantasy Points continues the march to the 2025 NFL Draft with Theo Gremminger bringing Andrew Cooper, three-time FSWA Winner, host on Sirius XM Radio, and Lead Analyst for Fantasy Alarm. To talk all things tight ends in the 2025 NFL Rookie Draft and beyond. Where to find us: http://twitter.com/CoopAFiasco http://twitter.com/TheOGFantasy Join the Discord here: https://www.fantasypoints.com/media/discord#/ Find Our Podcasts here: https://www.fantasypoints.com/media/podcasts#/ Subscribe to FantasyPoints for FREE: https://www.fantasypoints.com/plans#/ FantasyPoints Website - https://www.fantasypoints.com NEW! Data Suite - https://data.fantasypoints.com Twitter - https://twitter.com/FantasyPts Facebook - https://www.facebook.com/FantasyPts Instagram - https://www.instagram.com/FantasyPts TikTok - https://www.tiktok.com/@fantasypts #fantasypoints #nfl #fantasyfootball #dynastyfantasyfootball #FantasyFootballAdvice #dynastypoints #dynasty Learn more about your ad choices. Visit megaphone.fm/adchoices

Special Guests:   • Brent Chapman, MLF Angler Meet Kinder Outdoors Pro Staff...

Special Guests:   • Jay Stine, Quail Coalition  • Tom Dokken, Pro Staff  • Dr. Kennedy Legel, Pro Staff  • Ray Sasser, 1948 to 2018  • Shawn Van Liere, Pro Staff Meet Kinder Outdoors Pro Staff...

Bold predictions for the 2025 season with Howard Bender of SiriusXM Radio. Source

Michael Shikashio, CDBC, is the founder of AggressiveDog.com and focuses onteaching other professionals from around the world on how to successfully workaggression cases. He is a five-term president of the International Association of Animal Behavior Consultants (IAABC) and was the Association of Professional Dog Trainers (APDT) Member of the Year in 2020.Michael is sought after for his expert opinion by numerous media outlets, including theNew York Times, New York Post, Fox News, USA Today, The List TV, Baltimore Sun,WebMD, Women's Health Magazine, Real Simple Magazine, SiriusXM Radio, TheChronicle of the Dog, and Steve Dale's Pet World. He also hosts the popular podcastshow “The Bitey End of the Dog” where he chats with the foremost experts on dogAggression.He has been a featured keynote speaker at conferences, universities, and seminars inmore than 200 cities and 20 different countries around the world, and offers a variety of educational opportunities on the topic of canine aggression, including the Aggression in Dogs Master Course and the annual Aggression in Dogs Conference.https://aggressivedog.com/Legal Disclaimer: This podcast is intended for educational purposes only and does not constitute advice or professional services by either the host nor any of the guests. If you want to work with me, Susan Light, you can find me at:www.doggydojopodcast.comThe music was written by Mac Light, you can find him at:www.maclightsongwriter.comIf you like the show, please Subscribe, Rate, Review, and Share to help others find the show! I'll see you in two weeks with a brand new episode of the Doggy Dojo!

Special Guests:   • Eric Lopez, B.A.S.S. Director of Event Operations  • Brandon Palaniuk, Bassmaster Elite Angler  • Dannie Golden, Get Bit Guide Service  • Chris Zaldain, Elite Angler Meet Kinder Outdoors Pro Staff...

Special Guests:   • Ross Gomez, ShareLunker Angler  • Jake Norman, TPWD Biologist  • Ronnie Smith, Pro Staff  • Logan Hall, TTHA Meet Kinder Outdoors Pro Staff...

Fraunhofer-Gesellschaft v. Sirius XM Radio Inc.

Special Guests:   • Rob McCanna, Dallas Safari Club CEO  • Gary Klein, Pro Staff Meet Kinder Outdoors Pro Staff...

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

Special Guests:   • Mitchell Johnston, Grand National Turkey Calling Champ  • Rob Keck, Outdoor ICON Meet Kinder Outdoors Pro Staff...

How can leaders effectively work with and lead people who are different from them? Kevin welcomes Kelly McDonald to explore the challenges and benefits of leading diverse teams and how embracing different perspectives can drive better business outcomes. She explains why the term "diversity" has become a challenge in workplaces and offers practical strategies for leaders to navigate workplace differences, such as using the powerful phrases "Tell me more about that" and "I need your help" to foster understanding and collaboration. She also shares why diverse teams consistently outperform homogeneous ones across all business metrics, even though working with different perspectives can feel more challenging. McDonald emphasizes that friction and disagreement in diverse teams are part of the process that leads to better outcomes. Listen For 00:00 Introduction Why This Topic Matters 00:34 About The Remarkable Leadership Podcast 01:19 How to Join Live Podcast Recordings 02:02 Kevin's New Book Flexible Leadership 02:34 Welcoming Kelly McDonald 03:24 How Kelly's Journey Led to Diversity Work 06:18 The Business Case for Understanding Changing Demographics 10:07 Why Kelly's 2017 Book Is Still Relevant Today 10:46 Why the Word Diversity Makes People Uncomfortable 14:49 The Problem with Traditional Diversity Training 16:23 The Benefits of Working with People Who Are Different 20:35 The Murder Mystery Study Why Diversity Feels Hard 23:32 Do I Have to Like My Colleagues 24:10 How to Focus on the Person Not the Difference 25:29 The Power of Tell Me More About That 26:47 Why I Need Your Help is a Game Changing Phrase 29:35 How Leaders Can Address Prejudice on Their Teams 34:40 Kelly's Hobbies Cello Boxing and Pickleball 35:30 What Kelly is Reading Right Now 37:02 Where to Learn More About Kelly McDonald 37:55 Kevin's Final Question Now What Kelly's Story: Kelly McDonald is the author of four bestselling books on customer experience, leadership, and marketing -- all from the standpoint of working with people "not like you". Her book, How to Work With and Lead People Not Like You has been on two bestseller lists. She is the president of McDonald Marketing and an acclaimed speaker who specializes in consumer trends and changing demographics. She has been featured on CNBC, in Forbes Magazine, BusinessWeek, Fast Company, on CNNMoney.com, and on SiriusXM Radio. Her client experience includes iconic brands such as Toyota, State Farm, Nike, Harley-Davidson, Miller-Coors and Sherwin-Williams, Great Clips and NASA. This Episode is brought to you by... Flexible Leadership is every leader's guide to greater success in a world of increasing complexity and chaos.    Book Recommendations How to Work With and Lead People Not Like You: Practical Solutions for Today's Diverse Workplace by Kelly McDonald Outthink. Outperform.: Transform Your Organization Through Behavioral Marketing by Roger Hurni Innovation is Everybody's Business by Tamara Ghandour To Kill a Mockingbird by Harper Lee Like this? Innovation is Everybody's Business with Tamara Ghandour Seeing Your Blind Spots with Marisa Murray Stumbling Towards Inclusion with Priya Nalkur How to Lead in a Polarized World with Karthik Ramanna Join Our Community If you want to view our live podcast episodes, hear about new releases, or chat with others who enjoy this podcast join one of our communities below. Join the Facebook Group Join the LinkedIn Group   Leave a Review If you liked this conversation, we'd be thrilled if you'd let others know by leaving a review on Apple Podcasts. Here's a quick guide for posting a review. Review on Apple: https://remarkablepodcast.com/itunes   

Special Guests:   • Rob Keck, Outdoor ICON  • Kelly Jordan, Pro Staff  • Pete Delkus, Pro Staff Meet Kinder Outdoors Pro Staff...

When Abigail had the incredible opportunity to attend the Democratic National Convention in Chicago, Illinois, in August of 2024, friend and mentor of the pod Pete Dominick offered her an even more incredible opportunity: to serve as the official DNC Correspondent for the Stand Up! with Pete Dominick podcast. This is a compilation of the two segments she recorded for the podcast, as well as an exclusive segment for Pete's Patreon supporters - of which Barry and Abigail are two.For a dozen years, Pete hosted a fabulous public affairs show on Sirius XM Radio. His unique and humorous perspective on current events coupled with his great long-form interviews made this Barry's primary source of news for many years.In October 2019, Sirius XM made the awful decision not to renew his contract, due in large part to his resistance to the rehiring of Steve Bannon as a Sirius XM host. With nowhere else to turn, Pete started his own daily podcast, relying on subscribers as his sole source of income. Shortly afterwards, the COVID-19 pandemic afforded Pete the opportunity to create a weekly social hangout for subscribers. This quickly became an important means of connection for people isolated during the pandemic. This community quickly became a new group of virtual friends from all across the country. As the world has reopened from the pandemic, many of those newfound friends have met in person - most recently at the 2024 inaugural Stand Up! PodJam, at which we recorded our first-ever live episode!Pete and his community have been amazing supporters of our podcast from the beginning, and Abigail was extremely honored to be his DNC correspondent.Up next… Who's Next by The Who, submitted to our Jukebox by Todd Sider. This episode, our Season 5 opener, is scheduled to drop on March 7, 2025.Jingles are by our friend Pete Coe.Visit Anosmia Awareness for more information on Barry's condition.Follow Barry or Abigail on Untappd to see what we're drinking when we're not on mic!Leave us a rating or a review on Apple Podcasts or Spotify!Facebook | Instagram | Bluesky | YouTube | Website | Email us | Virtual Jukebox | Beer Media Group

Special Guests:   • Woody Woods, Freshwater Fishing Hall of Fame  • Dr. Cody Palmer, ED, Big Country Veterans  • Larry Weishuhn, Pro Staff  • Bob West, Pro Staff Meet Kinder Outdoors Pro Staff...

Special Guests:   • Rick Clunn, Pro Angler  • Dr. Kennedy Legel, Pro Staff  • Gary Klein, Pro Staff  • Ray Sasser (1948 to 2018) Meet Kinder Outdoors Pro Staff...

Special Guests:   • Chris Zaldain, Pro Angler  • Edwin Evers, Pro Angler  • Larry Weishuhn, Pro Staff Meet Kinder Outdoors Pro Staff...

MONOLOGUE Jagmeet Singh: The Man Who Ripped Up His Principles—But Never His Seat NEWSMAKER Canada's female Donald Trump ready to take on president https://torontosun.com/news/local-news/warmington-canadas-female-donald-trump-ready-to-take-on-president  We're Getting an Election We Don't Need, But Not Getting the One We Do! Ford calls for early election and hopes for Massive Mandate to Take on Trade War  Joe Warmington, Columnist with The Toronto Sun OPEN LINES THE CULT OF CLIMATE CHANGE Sea levels could rise by up to 6.2 FEET by 2100, warn scientists - so, is your hometown at risk? https://www.dailymail.co.uk/sciencetech/article-14328807/Global-sea-levels-rise-6-2-FEET-2100-plunging-entire-cities-underwater.html  Global warming to prevent 3.4 million deaths from cold ... but at a deadly cost https://www.telegraph.co.uk/news/2025/01/27/how-global-warming-save-three-million-lives-northern-europe/  Tony Heller - Geologist, Weather Historian and Founder https://realclimatescience.com MONOLOGUE "Dying for Care: How Canada's Socialized Healthcare System is Killing Its Own People" NEWSMAKER Did Trump Have the Greatest First Week in American Presidential History https://www.dailywire.com/news/heres-everything-trump-did-his-first-week-back   Stacy Washington, host of the nationally syndicated SiriusXM Radio show Stacy on the Right, and author of the book Eternally Cancel Proof: A Guide for Courageous Christians Navigating the Political Battlefront, is an Emmy Nominated TV personality and documentarian. OPEN LINES THIS DAY IN ROCK HISTORY  In 1969, Fleetwood Mac scored their sole UK No.1 hit with the instrumental “Albatross,” from the Peter Green-era of the band.  In 1972, Concert for Bangladesh went to No.1 in the UK. The live triple album, which captured the first major benefit concert, featured performances by Bob Dylan, Ravi Shankar, Billy Preston, Eric Clapton, Ringo Starr, members of Badfinger, and George Harrison, who organized the event.  In 1983, Australian new wave heroes Men At Work had simultaneous No.1s in the UK and US on both the singles and album charts with “Down Under” and Business As Usual, respectively. The last artist to achieve this feat was Rod Stewart in 1971. Jeremiah Tittle, Co-Host of The 500 with Josh Adam Myers podcast, CEO/Founder of Next Chapter Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, host Corey Nathan reconnects with Julie Mason, renowned journalist and host of The Julie Mason Show on SiriusXM's POTUS channel. Julie brings decades of experience in journalism, spanning local, state, and national politics, and shares her sharp insights on the evolving media landscape, political discourse, and the state of journalism today. What We Discuss: The evolving role of journalists in a polarized media environment. How to navigate news consumption and discern credible sources. Insights into the challenges of covering politicians and divisive topics. The growing intersection between social media platforms and journalism. Why re-engaging with quality news content is critical to democracy. Mike Pence: The King of Hilarity... Wait. WHAT?!?! No, really Episode Highlights: [00:00:00] – Corey welcomes Julie back to the podcast after four years and reflects on her journey in journalism, from print reporting to hosting her SiriusXM show. [00:09:00] – Julie explains how she transitioned from print to radio and why she took the leap into the unfamiliar world of broadcasting. [00:20:00] – The challenges of modern journalism: Julie addresses disinformation, lies in politics, and why reporters must focus on stories that truly impact people's lives. [00:27:00] – A discussion on how journalism is evolving to meet the needs of a fatigued audience, from long-form storytelling to true crime podcasts. [00:40:00] – Julie emphasizes the importance of journalists remaining stoic and professional, especially during major historical events like January 6th. [00:47:00] – Corey and Julie explore ways to have constructive conversations with people across ideological divides, drawing inspiration from bipartisan efforts in Congress. [00:55:00] – Julie's call to action: Why supporting quality journalism through subscriptions and active engagement matters more than ever. Featured Quotes: “You've got to be willing to kick your sources right in the balls if necessary, even if they're your friends.” “Politician lied is not really the story—focus on what impacts people's lives.” “To have meaningful conversations, you have to put down your weapons and see the humanity in the other person.” Resources Mentioned: The Julie Mason Show on SiriusXM's POTUS Channel – www.siriusxm.com/channels/potus-politics  Substack Recommendations: The Great Transformation with Mike Madrid Tom LoBianco's 24Sight Oliver Darcy's Substack The Contrarian by Jennifer Rubin and Laurence Tribe Dirty John Podcast – Listen Here Call to Action Support on Patreon - www.patreon.com/politicsandreligion  Watch on YouTube - www.youtube.com/@politicsandreligion  Leave a Review for TP&R - ratethispodcast.com/goodfaithpolitics  Proud to be part of The Democracy Group - www.democracygroup.org/shows/talkin-politics-religion  Social Media Links @coreysnathan: Bluesky LinkedIn Instagram Threads Facebook @julesdc Facebook Our Sponsor Meza Wealth Management: www.mezawealth.com

Special Guests:   • Gary Klein, Pro Staff  • Larry Weishuhn, Pro Staff  • Ray Sasser (1948 to 2018)  • Tom Dokken, Pro Staff Meet Kinder Outdoors Pro Staff...

Stacy Washington, host of the nationally syndicated SiriusXM Radio show Stacy on the Right, and author of the book Eternally Cancel Proof: A Guide for Courageous Christians Navigating the Political Battlefront, is an Emmy Nominated TV personality and documentarian.

Special Guests:   • Warden Randolph McGee, Texas Warden  • Capt. Steve Stapleton, Texas Warden Meet Kinder Outdoors Pro Staff...

Special Guests:   • Kevin VanDam, Pro Angler  • Natalie Goldstrohm, Texas Toyota ShareLunker Program  • Brady Stanford, Angler & Guide  • Kelly Jordan, Pro Staff  • Ray Sasser, (1948-2018) Meet Kinder Outdoors Pro Staff...

"McElroy & Cubelic In The Morning" airs 7am-10am weekdays on WJOX-94.5!!See omnystudio.com/listener for privacy information.

Special Guests:   • Larry Weishuhn, Pro Staff  • Brian Fienhold, DSC Director of Operations  • Ray Sasser, (1948 to 2018)  • Tom Dokken, Pro Staff Meet Kinder Outdoors Pro Staff...

A week after the U.S. presidential election, The New Abnormal co-hosts Andy Levy and Danielle Moodie reflect on what Kamala Harris could have changed in her campaign strategy. Plus! Dean Obeidallah, host of the The Dean Obeidallah Show on Sirius XM Radio is here to talk about his recent piece posted to their substack. Hosted on Acast. See acast.com/privacy for more information.