Podcasts about situational

It's claimed a reported decline in Clare's land prices cannot be viewed in isolation. It follows a new report from Teagasc and the Society of Chartered Surveyors Ireland which shows that farmland in this county is now the fourth least expensive nationwide, with over 100 acre holdings available from €3,200 per acre. However its predicted that land prices across all holdings will rise by 6% this year. Chartered Valuation Surveyor David Costelloe from Costelloe Estate Agents in Ennis has been telling Clare FM's Daragh Dolan that figures here are skewed by varying land quality in different areas.

Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019 ™ All Rights Reserved. -Ū.

Copyright © The Festival Project, Inc. ™ | Copyright The Complex Collective © 2019 ™ All Rights Reserved. -Ū.

What's up with the Left's newfound reverence for "due process?" Will explains why so many Democrats are sticking their necks out for bad-guy non-citizens. Also on the show: The civil war within the Democrat Party; and the $5,000 mommy tax credit proposal.

In this episode of Just ONE Thing, Rick White breaks down the difference between situational comfort and strategic comfort—and why mistaking the two can hurt your shop. Just because things feel better (like cash flow or staffing) doesn't mean you're in the clear. Rick shares how to spot false comfort, build true stability, and avoid slipping back into survival mode.

In this special crossover episode, Max Trescott, host of the Aviation News Talk podcast, appears as a guest on Dr. Tony Kern's Only Human podcast. The two aviation safety advocates engage in a candid, insightful conversation that bridges their shared backgrounds in aviation, safety culture, and leadership. The episode begins with a segment called “This Week in Safety Land,” spotlighting a tragic helicopter crash involving tourists over the Hudson River. The Director of Operations (DO) at the company involved chose to cease operations pending investigation, only to be overruled and fired by the CEO—prompting FAA intervention. Max and Tony reflect on this as a textbook example of the ongoing conflict between operational production and safety protection, a dynamic familiar in aviation, military, and corporate environments alike. They explore how profit-driven decisions often undermine safety, and how organizations with high-risk operations must prioritize a culture that empowers safety-conscious leadership. Tony shares a story of elephants at the San Diego Zoo sensing an earthquake before it was perceptible to humans—forming a protective circle around the young. Max likens this to the importance of organizational structures that support bottom-up safety communication. Drawing on his early career at Hewlett-Packard, he praises HP's open-door policy that encouraged employees to escalate safety issues when necessary. He stresses that open communication channels are essential, especially in high-risk domains. Max then shares his personal journey from a successful 25-year career at HP to full-time aviation after a layoff. What began as a side hobby teaching flying eventually evolved into a full-time vocation, spurred in part by a deeply personal tragedy: the death of a close friend and five others in a preventable aircraft accident. Max, who arrived on the crash scene within 45 minutes and attended multiple funerals that week, found a new purpose—preventing similar accidents by educating pilots. That experience drove Max to start Aviation News Talk, where he strives to deliver rich, actionable content on general aviation safety. His mission: to save lives by making safety knowledge accessible, engaging, and relevant to every pilot—from student to professional. He explains that his podcast is designed to offer “at least one nugget of value per episode” that listeners can apply immediately. Tony and Max discuss the unglamorous public perception of safety roles—often viewed as dull or punitive. Tony notes that safety officers are often assigned the job after incidents or during grounding periods. Max offers a reframing: don't lead with safety—lead with professionalism. If pilots strive to be excellent in their craft, safety naturally follows. “Do your job well, be curious, be disciplined,” Max says—traits that elevate both personal performance and safety outcomes. They turn to current trends, asking whether aviation is getting less safe. While total accident numbers may be down, Max points out that media coverage is up, and many general aviation (GA) accidents—especially runway excursions involving business jets—suggest continued risks. What matters more than raw numbers, he explains, is the accident rate per 100,000 hours flown, data that lags by over a year. For GA pilots, the accident risk remains significant, especially among newer or less experienced pilots. Looking forward, Max and Tony explore the safety challenges of tomorrow. Max debunks the idea of achieving a static “safe state” and explains that aviation is inherently dynamic—subject to changes in personnel, technology, weather, and processes. He highlights the importance of conducting safety assessments prior to changes in operations, procedures, or equipment. Quoting safety expert Todd Conklin, Max describes accidents as “the unexpected combination of normal aviation variability,” reinforcing the need for ongoing vigilance. Tony adds that while technological innovations—like AI, automation, and real-time training—offer efficiency, they don't guarantee increased safety. Often, humans simply push the margins when given better tools. He uses anti-lock brakes as an analogy: rather than driving more safely, people just drive faster. Similarly, faster, cheaper training methods could reduce experience levels without solving core human performance issues. The conversation closes with Max outlining the timeless characteristics of a great aviator: Judgment – the most critical trait, separating the skilled from the safe. Curiosity – a desire to learn, explore, and seek out knowledge. Discipline and consistency – following procedures and making flights “boring” in the best way. Situational awareness – understanding not just your own position, but what everyone else in the airspace is trying to do. Humility – recognizing that overconfidence kills and that learning never stops. Max emphasizes that aviation teaches life skills: staying humble, seeking excellence, and always being ready to learn. He ends by inviting listeners to consider flight training—not just for fun, but as a profound growth experience. Learning to fly, he says, can change how you see the world and yourself. Tony echoes the sentiment, encouraging listeners to take a discovery flight and explore the possibility. As the episode wraps, both hosts agree: while aviation may be unforgiving, it offers unmatched rewards for those who approach it with professionalism and passion. If you're getting value from this show, please support the show via PayPal, Venmo, Zelle or Patreon. Support the Show by buying a Lightspeed ANR Headsets Max has been using only Lightspeed headsets for nearly 25 years! I love their tradeup program that let's you trade in an older Lightspeed headset for a newer model. Start with one of the links below, and Lightspeed will pay a referral fee to support Aviation News Talk. Lightspeed Delta Zulu Headset $1199 Lightspeed Zulu 3 Headset $899Lightspeed Sierra Headset $699 My Review on the Lightspeed Delta Zulu Send us your feedback or comments via email If you have a question you'd like answered on the show, let listeners hear you ask the question, by recording your listener question using your phone. News Stories Boeing Sells ForeFlight, Jeppesen and OzRunways Mentioned on the Show Buy Max Trescott's G3000 Book Call 800-247-6553 Lightspeed Delta Zulu Headset Giveaway Dr. Tony Kern's Convergent Performance company Only Human with Dr. Tony Kern podcast Dr. Kern's Books Blue Threat: Why to Err Is Inhuman Redefining Airmanship Flight Discipline Going Pro: The Deliberate Practice of Professionalism Darker Shades of Blue: The Rogue Pilot Armored Knight The Ghost of Nathan Hale Dark Wind by Buck Myles (Tony Kern) 13 Bullets: A Blue Walker Action Thriller Series by Buck Myles Free Index to the first 282 episodes of Aviation New Talk So You Want To Learn to Fly or Buy a Cirrus seminars Online Version of the Seminar Coming Soon – Register for Notification Check out our recommended ADS-B receivers, and order one for yourself. Yes, we'll make a couple of dollars if you do. Get the Free Aviation News Talk app for iOS or Android. Check out Max's Online Courses: G1000 VFR, G1000 IFR, and Flying WAAS & GPS Approaches. Find them all at: https://www.pilotlearning.com/ Social Media Like Aviation News Talk podcast on Facebook Follow Max on Instagram Follow Max on Twitter Listen to all Aviation News Talk podcasts on YouTube or YouTube Premium "Go Around" song used by permission of Ken Dravis; you can buy his music at kendravis.com If you purchase a product through a link on our site, we may receive compensation.

Today, Emily Kircher-Morris and Meredith Polsky look into the complexities of selective mutism, exploring its definitions, the importance of language in understanding it, and the personal experiences that led Meredith to specialize in this area. They discuss the myths surrounding selective mutism, and its manifestation as an anxiety disorder rather than a choice or a form of shyness. Meredith shares her journey as a parent of children with selective mutism and the challenges she faced in finding appropriate treatment, ultimately leading her to become a clinician herself. They explore the challenges of diagnosis, and provide effective therapeutic techniques. This is a must-listen for adults supporting children with selective mutism. TAKEAWAYS Selective mutism is often misunderstood as a choice. Language matters in discussing selective mutism. The term 'situational mutism' is gaining popularity. Parents play a crucial role in treatment. Selective mutism is an anxiety disorder, not shyness. Pushing children to speak can increase anxiety. There is a lack of awareness among clinicians about selective mutism. Selective mutism can complicate the diagnosis of autism. Children with selective mutism may not exhibit typical anxiety responses. Effective communication strategies are crucial for children with selective mutism. Register here for a free one-hour continuing education webinar entitled The Cost of Camouflage: Exploring Masking and Burnout in Neurodivergent Clients. It's a free service of the Neurodiversity University! Meredith Polsky, LCSW is a licensed clinical social worker specializing in Selective Mutism through her private practice, Counseling Out Loud. With a career dedicated to supporting children with diverse needs, she also serves as the Senior Director of Programs and Partnerships at Matan, Inc., an organization she co-founded in 2000 to promote inclusion in education. Meredith is the co-author of the award-winning I Have a Question children's book series (Jessica Kingsley Publishers), which helps children—both with and without disabilities—navigate complex topics. She holds a BA in Psychology from the University of Michigan, an MA in Early Childhood Special Education from Bank Street College, an MA in Clinical Social Work from Columbia University, and a graduate certificate in Early Intervention from Georgetown University. BACKGROUND READING Counseling Out Loud, Matan, I Have a Question, LinkedIn, Selective Mutism Association

The Mariners went 1 for 19 with runners in socring position in the loss on Tuesday night and Salk discusses their lack opf situational hitting so far. Afterwards, they re-air their conversation with Jeff Passan of ESPN to get his insight on all things Mariners early in the season.

The Mariners are having some difficulties with having the right guys for the right situations and it's showing in their struggles with RISP. What can they do? Then,  Salk found a positional value chart for the NFL draft that is a bit complicated but makes a lot of sense once you break it down. He explains what he likes about it. Plus, we deliver our nominees for Trash Take of the week and Salk crowns a winner.

1 Corinthians 8:1-13, 9:19-27

  Welcome to Hope for the Caregiver here on American Family Radio. This is Peter Rosenberger and I will be your host today through all things caregiver related. I've been a caregiver so long that the hospital Wi-Fi connects automatically. You know you've been a caregiver a long time when you call 911 and they say, Hey Peter, that's my life. I've been a caregiver so long my idea of vacation is waiting in the car during surgery. And even Siri whispers to me, bless your heart. We are still in Denver, in the hospital. And Gracie now has to go back into surgery on Monday or Tuesday. This left leg just does not want to heal up. This will be her 93rd and her 6th during this particular 10-week stretch we pulled. So yeah, I know a little bit about the journey. And I've learned a few things. I'm going to give you some practical things right now. Okay? Just some practical. We're going to get into some heavy stuff later on in the program. But I've got some practical things. One of them is when you're in an elevator. A couple of points in an elevator. For elevator etiquette. And it's not what you think. But it's... I always let ladies exit and enter the elevator before me. I hold the door and make sure they go in properly. I told one guy, there was a bunch of them, and this guy tried to go in. I said, no, you wait for me. I was raised in the South. I'll help the ladies, but I'm not going to help you. You're a grown man. I actually told him that on the elevator. I mean, I've spent a lot of time in the hospital. So these are things I observed. But a lot of people will line up in front of the elevator on the bottom floor. Now, why is that problematic? Why? Well, I'll tell you why. Because there are people going to be getting off that elevator, and they can't get off if there's some yahoo standing right in front of them. And I'm like, has it not occurred to you maybe to wait over to the side? Another thing is, don't be on speakerphone and having a conversation while on the elevator. I understand being on the phone. I'm often on Bluetooth, giving updates and so forth. But when I get on the elevator, I will tell whoever I'm talking to, I'm getting ready to get on the elevator. You keep talking, I'll listen. I got a buddy of mine I was talking to back in Montana. And I said, all right, I'm getting on the elevator. You talk, I'll listen. So he started asking me questions. And I'm like, you didn't understand the point. The point is, I'm getting on the elevator. I'm not going to talk. You talk, I'll listen. Well, what do you want me to talk about? Oh, for heaven's sakes. And so I just kind of, you know, but that's another thing. People get on the elevator and they got speakerphone going. And I'm like, I jump into the conversation sometimes, you know, figured it's there. It's a public conversation now. And then here's something else. And I'm not faulting you for this, but be aware that Be aware of a few things when you're walking into a hospital, into a corridor. Number one is if you're going around corners, drive in the right lane. Okay? Drive in the right lane. We're not in Great Britain. We're in America. Drive in the right lane. So hug the wall on your right side. So when you go around a corner, you're not doing like in NASCAR when you're getting way down low there. You got to go up a little high and come around because there's somebody else coming around that corner and they're driving in their right lane. I have been involved in many near collisions because people were hugging the left corner. Now, that may sound stupid to you, but you spend 10 weeks in a hospital, and then you come back and tell me what you think, okay? And this ain't my first 10 weeks in the hospital with Gracie. So these are things I observed that people are, this is a very big hospital, a lot of people, and everybody's busy, and I understand that. Here's another little tidbit. Situational awareness is everything. Be aware of how you are in space and in time as you're moving in and out of this labyrinth of of a place there where a lot of people are. People are very busy. This is, again, a teaching hospital. So it's very busy. It's always going 24-7. And you have to be aware of where you are in space and in time. Not just, you know... ambling along. I was on the elevator with two women, and they were older women, but not that old. Well, now that I think about it, they're probably younger than me, which, now that's just kind of sad, isn't it? They looked older, but I realized they're probably younger than me. Okay, well, all right, let me just go and cry over that one in the pantry. But Regardless, they were on the elevator and one of them had a walker and they were very nicely dressed. They were very pleasant ladies. And I held the door and they started walking. Well, I was in a bit of a hurry. And these two women, one of them was rather large. I mean, she wasn't gargantuan, but she's a big woman. And the other one was a bit hefty as well. And she had a walker, but a little, not a walker, but one of those things with wheels on it. You know what I'm talking about. And she would sit down and into the elevator and then get up and start moving. That's fine. I live with somebody with mobility impairments. I understand it. But I am always aware of Gracie and me in time and space. Always. When I'm walking anywhere with her, I'm aware of who's behind me, who's in front of me, who's to my left. I'm always aware of things like that. That's just the way I kind of Some of it's my martial arts training, check your six, always look around, head on a swivel. I get that. Some of it's just common courtesy and some of it is just, I just don't want somebody to run into me or me run into someone else. And these two women were ambling along for a little afternoon stroll. But they took up the entire corridor. You couldn't get around them. It was just not a space where I could. And they walked wide, and they were wide. And it wasn't just because of the one with the mobility device. It was just because they were big and clueless. And they went along at their stroll, and I had to go with their pace behind them. And I was in a bit of a hurry. I was like... You know, do you have to take up the entire hallway? You know, because there's always little carts or something on the side of the thing, and you can't easily pass in certain places. And, you know, crash carts and things such as that scattered around the corridor there. So it was like... And you say, you know, Peter, you're being petty. Well, yes, I am. But I've been here for 10 weeks, and I've just, you know... Move it, people. That's what I'm talking about. Thank you for that. That's what it feels like. I'm telling you, that's what it feels like. Move it, people. There's nothing like being in a hospital for a lengthy period of time to... force you into a different kind of, I don't know. But I never cease to be amazed on how people amble and stroll and mosey in a place where there's a high traffic area. And it's a bit jarring because I'm moving quickly. And I'm not just sitting there with Gracie all day long doing nothing. I mean, oh, I think I'll stretch my legs and go down to the cafeteria. I'm working. I have to work all the time. I mean, I don't have to work all the time, but I have to work I can't put my life on hold for 10 weeks. And I've written, by the way, I've written quite a bit here, 40,000 plus words since I've been here. Five published articles and I finished a new book that's going to be out next year. Got one coming out this summer and we'll talk about that. And then I've got a new book that'll be out next year that I think you're going to really like. But I've been working and then I've gotten shipments over to Africa and so forth. I mean, I work. And then I'm looking after her. I'm back and forth to the hospital frequently. I come to do this radio program. I do a live show on Wednesdays. And that's one of the reasons I went in a hurry that day because I had to get back over to the hotel across the street where I do a live show on Wednesday afternoons. And so I was, you know, wanting these women to move a little faster or at least move over, you know, just same thing as being on a highway. You don't go on the interstate at 30 miles an hour. And they just, you know, were clueless. I mean, truly clueless. And I see this a lot in the hospital. If you have to go into the hospital for an extended period of time, be aware that you're going to see high traffic areas and stay to the right. And don't stand right in front of an elevator blocking it so people on the elevator can't get off. You're not getting on unless they get off. And so give them space to maneuver. My father used to always say that. He said, keep moving forward, but give space to maneuver. That was one of his trademark lines. And he was such a student of observing people and their behaviors that he would probably chuckle at this. I don't know if you are, but I'm sorry. I just had to take this moment to vent out because I'm tired of running into people by the elevators and through the hallways of this hospital. Listen, we got more to go. This is Peter Rosenberger, Hope for the Caregiver, hopeforthecaregiver.com. We'll be right back. Thank you. Welcome back to Hope for the Caregiver. I am Peter Rosenberger, PeterRosenberger.com. PeterRosenberger.com. If you want to explore more of what I put out there for you as a family caregiver, I hope you'll take advantage of it. Right up at the top of the page, you say, check out Peter's Substack page. Well, what does that mean? Well, Substack is an online newsletter. And there are lots of different things that I put out there. You can put video and audio and print and so forth, and that's what I do. And On this page, my latest post is, what do you think? It's called What Do You Think? And it's from my book, A Minute for Caregivers, When Every Day Feels Like Monday. And I post these out every Monday. So if you go out today and subscribe to this, you'll get a missive on Monday to tell you about a new one. But right now, you can go out and read this today, look at it, and there's some other things out there. Some of it's behind a paywall, and you have to subscribe for that if that's your choice you want to do. But this I put out every Monday for free. And this is one I think that would connect deeply with you as a caregiver. I'll give you a bit of a preview of this, okay? And the concept behind it. That's the special bonus that you're going to get today on this program. Like I said, I've been here for a long time. I've devolved into elevator etiquette for a conversation topic. I mean, you get a little bit loopy here when you have these kinds of lengthy hospital stays. But I have often and embarrassingly inserted my opinion during Gracie's long medical journey. I know you're saying to yourself, no, Peter, that couldn't happen. You wouldn't give your opinion. You would be quiet and demure and genteel, and you would be a wallflower. I know you might think that. That may be your first inclination to go there, but... Let me dispel you of that and tell you that I have done this and I don't recall being frequently asked for my opinion, particularly by surgeons. Yet, as the team was observing Gracie's response during the recovery process of one of her surgeries, the lead surgeon looked at me and said, what do you think? All right, now think through that for just a moment. This guy is a serious surgeon, not a lightweight. You don't serve in this particular hospital, this teaching hospital. You don't serve in this capacity as a teacher, as the attending, unless you've got some real game to you. Let me just add, I don't let you work on my wife unless you have some real game to you. Okay? We're pretty hard on docs and surgeons. I had a resident tell me that, you know, I've never seen this before. They were looking at some stuff with Gracie and said, we've never seen this before. I looked at this surgeon and I said, you know, the first time I heard that from a surgeon, Ronald Reagan was president. And they couldn't believe it. I mean, they were stung it. They really don't know how to wrap their mind around that. So anyway, this surgeon looked at me, and he's not a lightweight surgeon. What do you think? Well, you know, four decades of living with Gracie, I understand nuances about her that no medical professional could ever hope to know. They don't have the kind of time to be brought up to speed on Gracie. I have a PhD in Gracie. And it came from the School of Hard Knocks. Most of them, she's knocked on my head. And I hear an amen from Gleason, Tennessee, where Betsy has just said amen. She listens to this program and she's saying amen. I've known Betsy and her husband Tommy for a very, very long time. They've known me since I was 14 or 15 years old. But anyway, the School of Hard Knocks, that's it. A lengthy list of unpleasant events, and I'm saying that with a great deal of diplomacy, has taught me and continues to teach me the value of keeping my opinion to myself and only sharing what I've witnessed and experienced to the best of my abilities. Now, sometimes it gets the best of me, I admit. But I try to stay with my experience. and what I've observed. So when the surgeon graciously sought my thoughts, I stayed on message. I shared what I've observed of my wife and her challenges and avoided speculating. Here's what I've observed. One of the things I've observed that post-operatively, when something can go wrong with a patient, it usually will go wrong with Gracie. That's what I've observed. And I went on to share with him some other things i've observed about her lengthy history nodding with understanding he ordered a few additional tests evidently in part based upon my response and he continued looking for solutions now as a caregiver i'm learning to stay in my lane i really am i don't Don't jump to conclusions that I'm not, even though I went on the whole elevator diatribe at the last block. I'm learning to stay in my lane while speaking with calm authority about what I know. recognizing that my experience is far worthier than my opinion. And I put a quote on there from Kurt Cobain. You may not know who he is. He's a particularly sad, tragic figure who was the lead singer, guitarist, songwriter for Nirvana, a very troubled young man who took his life when he was 27. He had been just a very sad, troubled man, but he was a very deep thinker. And he wrote something once that said, we have no right to express an opinion until we know all of the answers. And again, he was an extremely troubled young man. who sadly took his life. Many attempts tried to take his life before, dealt with drugs and so forth. But in the middle of his distress, he had such profound things that he said, the way he approached things. And I love that quote, we have no right to express an opinion until we know all the answers. And I think of my own life and how many times I have shot my mouth off with an opinion and I didn't even know what I was talking about. And I go back to what I said with this doctor. In my experience, this is what I've seen. This is what I've witnessed. This is what I've observed. And I thought that may be helpful to some of you as caregivers when dealing with your physicians and the medical providers treating your loved one or in general with anyone. Here's what I've witnessed. Here's what I've seen. Because your experience is unimpeachable. It's yours. You've experienced this. Your eyewitness is unimpeachable. This is what you saw. This is what you have encountered. And if you stay in that place, you're not going to get off into the weirdness of opinion. And I also think about that with our Christian faith. How many of us give our opinion versus, here's my experience. That's why I love going back to some of these hymns who have said it so beautifully, O God, our help in ages past. our hope for years to come, our shelter from the stormy blast and our eternal home. Well, that's saying, look, here's our experience. This is what we've seen, what he's done. You know, look at 1 Samuel 7, 12. Then Samuel took a stone and set it up between Mitzvah and Shem and called its name Ebenezer. For he said, thus far the Lord has helped us. And the word Ebenezer means stone of help. Do you know the only hymn that uses the word Ebenezer? It's from Come Thou Fount of Every Blessing. Here I raise my Ebenezer, hither by thy help I come, and I hope by thy good pleasure safely to arrive at home. Come Thou Fount of Every Blessing. It's such a great hymn. Sadly, the writer of that hymn, struggled with his faith. Even though he had that great line, bind my wandering heart to thee, prone to wonder, Lord, I feel it. And he struggled, I think, all of his life, or certainly later on in his life, and struggled with his faith. But at that time, he wrote that. Again, sometimes some of the best things can come from people who are struggling mightily with stuff. like Kurt Cobain or like the author of this hymn. His name was Robert Robertson. He wrote that hymn back in 1758. He was just a kid. He was just 22. Kurt Cobain was 27 when he killed himself. And I don't know if Robert Robertson ever... was able to resolve some of those issues in his life that he struggled with as he grew older, and he supposedly left the faith. I don't know. I have no idea. Somebody who knows more about him can maybe let me know. But he wrote this hymn, and it was a powerful hymn, and it's been sung all over the world. Here I raise my Ebenezer. Hither by thy help I've come. So far, thus far, the Lord has. This is my experience. You know, look at Revelation. They overcame by the blood of the Lamb and the word of their opinion. No, that's not what it says. It says they overcame by the blood of the Lamb and the word of their testimony, their experience. When I listen to preachers, one of the things I listen for is their experience. I'm not interested in really your opinion. Show me what the text says. Show me how you've seen this in your life or in others, what you've observed. And anchor me in this text. I'm not interested in your opinion that much. What I am interested in is understanding Scripture on an experiential level, to see these things fleshed out. And so when I talked to that surgeon, I said, look, in my experience, this is what I've watched with Gracie. I've seen this. I am testifying to this. And that was enough for this surgeon to use that in a protocol because it's firsthand experiential. That's the thing about our faith. We're not asked to take a leap of faith into the dark. We're invited by Scripture, asked, commanded by, to anchor our faith in the light. And this is the experience. I look at John, the Apostle John, when he's talking about Jesus being crucified. He said, I've witnessed this. Look at John 1935. He who saw it has borne witness. His testimony is true. And he knows that he is telling the truth that you may also believe. It's almost like John, and I don't know, if you're a theologian or scholar, you could tell me, but it's almost like he is saying this as an affidavit in court. Like, do you swear to tell the truth, the whole truth, and nothing but the truth? And he's saying, if you go back and look at the message, sometimes it helps me to understand it if you go back and look at different translations and paraphrases. In the message, it says, "...the eyewitness to these things has presented an accurate report. He saw it himself and is telling the truth so that you also will believe." I gave a firsthand account of credible witness to my wife's medical journey. The surgeon acted on that and made some changes in this. The Apostle John, the prophet Samuel, gave credible witness to what God has done. John gave witness to that. This is what happened to Jesus on the cross so that we will also believe. That's not stepping into the dark. That's acting on the light. And that is hope for the caregiver. This is Peter Rosenberger, PeterRosenberger.com. We'll be right back. Peter Rosenberger. He's not a preacher, but he's got great hair. Welcome back to Hope for the Caregiver. I am Peter Rosenberg. Glad to be with you today. And you know what? You may have just turned this show on midstream. You might be right here in the middle of the show. And you've been up all night having a conversation with the ceiling fan. And you wake up and you hear a program that's for family caregivers of all things. And you think, where has such a program been? Well, it's been right here. But I'm glad you're here with us now. And I've been doing this for 14 years. I've been on American Family Radio now for seven years. And I understand how difficult this journey is. I really do. And I understand what brings me comfort. And I ask you, think about that for just a moment. Most of you know my story. And if you're brand new to the audience and you're just coming in halfway through the show, that's okay. Four decades later. And on Monday or Tuesday, my wife will have her 93rd surgery. Car wreck back in 1983. Now think through the lengthy amount of time this is. How many hospitalizations? We've been here for this particular stretch for 10 weeks. Doesn't show, I don't know when we're going home. But we can't go home until this is done. And I understand how difficult this journey is. So what brings me comfort? What brings Gracie comfort in this? Is it anesthesia? Is it painkillers? Well, it helps ease her pain. But is that what brings her comfort? Is that what brings me comfort? What brings me comfort? I mean, think about it. I mean, I'm working out of a hotel room across the street in not the best part of town in Aurora, Colorado. I'd like to be at home. I could have been out on the snowmobile. and enjoying a beautiful Montana winter. Instead, I'm over here in a hotel, and sometimes I know the other night I had ramen noodle soup. I was tired. I didn't feel like going anywhere, so I just had ramen soup. I remember I was staying at a hotel down the road here. There's several hotels across the street, but now I've camped out at this one. I've been here now multiple times. We've been out here, and this is where I'm going to be permanently, but I don't think we're going to have to come back for another stretch. But I was staying at one down the road, and they got it messed up. This was some years ago. And they got it messed up in our room. But I was in the middle of Gracie's surgery, and I didn't do anything about it until about a week or two after she'd kind of stabilized. And I was checking out one. I mean, I was at the counter, and they had a little, you know how hotels do, they have a little place where you can buy overpriced items. And they had some soup. And I just, you know, it goes back to my college days, some ramen soup. And I had there on the counter my dinner that night because I was tired and I didn't feel like going anywhere. And I paid overpriced ramen soup, you know, and you know how much that stuff costs. But I mentioned the night manager. I said, look, I'm just now getting back with you. But when we got here, they were supposed to have this kind of room for my wife. They didn't have it. They really kind of messed it up and it was very difficult. And I just want to bring that to your attention. And she saw my soup on the counter there and she said, oh, I'm so sorry. Here, take that on us. It's the least we could do. And I used a great deal of restraint. You have no idea the torque involved in this. And I almost said, but I didn't say, it's ramen soup. There ain't no leaster. Of course, it's the least you could do. But she was very sincere, and I let it slide. Eventually, I talked to the daytime manager, and they worked out the problem and got it all squared away. So, you know, this is the way I'm living here. And Gracie's not certainly enjoying where she is. I mean, she's had now, this will be her sixth surgery in this 10-week stretch here. This leg just doesn't want to heal. And they have to go in there and redo something even different now. And so here we are. But we can't leave. This is for all the marbles. If we get this right, she has a better quality of life. If we get it wrong, she's in pretty dire circumstances for the rest of her life on earth. And so I get the journey. What brings me comfort? What has settled my heart down? What has given me the ability to focus and be clear-headed during this? And that is thinking on the things of God. Not abstractly. I'm talking about up close and personal, really contemplating these things. I've been studying. I've been going through the book of John while I'm here. And I am resolved to these things because I know that there's a greater work going on. And that I go back to what I've been saying over the last couple of weeks here with the Heidelberg Catechism. What is my only comfort in life and in death? And that is I belong to Christ. And in this world, he will see fit to allow us to go through very painful things, sometimes horrific things. I don't know why. I'm not really all that excited about it. I don't like it. But I am so committed to this because I see that he has saved me from something far worse. And I belong in his service. And that this is where he's asked us to go. And this is what Gracie said when I was praying for her. I mentioned this two weeks ago before her 91st surgery. And I was like, Lord, this is too many. Gracie said, no, it's not. This is how many he thinks is necessary. And we're going to do what he has led us to do. And I know that, I think it was Karl Marx or Stalin or somebody, one of those guys, who said that religion is the opioid for the masses, right? I can't say that I disagree with that. But I'm not talking about religion. I'm talking about theology. Understanding and knowing, discovering, learning about God. Religion is man's attempt to do these things. Theology is studying what God has already shown us in His Word. That we can know Him. And I've said this before on this program, but I had a caller call in to the Wednesday live show that I do and asked, is suffering required in order to grow in our Christianity? And my answer was, suffering is required to be a human being. In this world, we're going to have it. I mean, it's part of the condition. And you can live your whole life without being afflicted by trauma or disease of any magnitude, not even approaching anywhere near where Gracie is. But you're still going to die. Your body's going to get old and die. Unless Christ returns, none of us are getting out of this thing alive. That's just part of the human condition. It's how we trust God in those things. That's where the difference is. And I go back to this surgical event that we're dealing with here in our life right now. Now, these surgeons that I've been working with here, and they're wonderful men. I've worked with them now for some time, and I've gotten to know them a little bit, but I don't know them all that well. I don't know, for example, her attending surgeons, wife and kids and all those kinds of things. I really don't know a lot of his background. I know where he's from, but that's pretty much about it. But this man, who I barely know, will take my wife into a room with a bunch of strangers who I do not know, and they will do ghastly things to her body with ghastly tools that I wouldn't want to even touch. And then when he comes out, I'll thank him. And Gracie does too. She took his hand one time. Thank you. How often do we do that to people who wear white lab coats or surgical scrubs? Thank you, doctor. Thank you, doctor. And we treat them with reverence and respect, and we barely know them. We don't know where their doctrinal stances are. We don't know what they believe, why they believe it. We don't know those things. We just know that they've been certified to do such and such by the governing authorities of the state and the medical licensing board, and this hospital has vetted them, and the teaching university they went to has properly instructed them. And we take that on faith, even though we've never looked at their transcripts. we've never looked at their grades we don't know anything about them but we will let them go in there and do things to our loved ones and we will thank them for it how much more can we approach the king of kings and lord of lords when he does these things how much more skilled is he and we can know him he has made it possible that's what theology is he's laid it all out this is who i am Now, we will never know Him absolutely because we're not infinite beings like He is. But we can know Him truly. He's immutable. His loving kindness never fails. His grace, His mercy, His wisdom, His justice, His wrath, all of those things laid out. Corrie Ten Boone once said, don't be afraid to trust an unknown future to a known God. What brings us comfort is that I am not trusting Gracie to a bunch of people in medical gear that I don't know. I'm trusting her to the one I do know. You're going to hear me do this probably for the rest of the time I have a program. But I love to quote my father. And mom told me this story about him one time. And I've seen this in his life. And I have so many great, wonderful memories of things that he has said and imparted to us. But she was struggling with something young into their marriage. And I don't know how young it was, mom. Mom listens every week. I don't know how young you were, but it was some time ago. And she kind of popped off. How do you know that? because dad was sharing something from scripture with her she said well how do you know this and dad responded very calmly because i know god because i know god what gives me comfort i know god he's told me who he is and i take him at his word And that's what strengthens me. That's what equips me. That's what settles me down. I can produce a lengthy line of people, some of them in this audience, who have known me for a very long time and would say, yeah, that ain't Peter. That's evidence of the redemptive work of Christ in Peter's life because that ain't him. We know Peter. We've seen his work. And that's not me. And thanks be to God, it isn't me. It doesn't have to be you either. We don't have to be reactive all the time. We are invited by Scripture to cast all our cares on Him. We're invited to walk in His statutes, to trust Him, to take Him in His Word. And He gives us all the evidence that we need of said step of faith. And like I said in the last block, we're not stepping by faith into the dark. We're stepping by faith into the light. The credible testimony of others who have observed this, who have walked this, like John himself said in the Gospel of John, I saw it. I was there. Like I said to that surgeon, here's what I've seen. And so when I look at people like my father and like so many who said, here's what I have observed. Here's what I know. Here's what I've experienced. That is what comforts and strengthens me and equips me and fortifies me. And then I could take that into Gracie's hospital room and offer her the same comfort that I myself have received from the God of all comfort. And you know what that is? That is hope for this caregiver. This is Peter Rosenberger. We'll be right back. Welcome back to Hope for the Caregiver. This is Peter Rosenberger. Do you know what that hymn is? That hymn is called Abide With Me. And it's from my CD, Songs for the Caregiver. I've always loved this hymn. This is my mother's favorite hymn. And I've played this countless times. You can see this, like I said, on my CD, Psalms for the Caregiver. You can download the whole thing wherever digital music is streamed, or you can call Logos Bookstore in Nashville, Tennessee and get a copy of it. They're the only ones that care. It's all out at my website, PeterRosenberger.com, but that's not the purpose of me telling you all this. I used to play this hymn and many others in the sanctuary church where we attended in Nashville for many years and My pastor at the time asked me to play on Sunday mornings as people were coming in to help create a more reverent atmosphere for the church. So people would just talk, you know, yabber. They would come in and be more reflective. So I would work out a lot of these hymn arrangements that I did there. And during the week, I would practice this. And I noticed that I wasn't alone in the sanctuary. And at the back, there was a custodian there at the church And he would be putting hymnals back in the racks and sweeping and straightening it up, very much like my father used to do when he was a young man. And I've got a picture of my father when he was working at a church as a custodian. So I had a very special place in my heart for custodians of churches, and this man was no exception. And I would stop and ask him, I'd say, hey, do you want me to play something for you? And he said, no, just keep playing, just keep playing. So I'd play and sometimes I'd practice there for an hour, maybe more. And a beautiful Steinway up at the front of the church. And that's the cover of my CD is me playing in that sanctuary by myself. Except I have one picture of me playing there. It was taken from the choir loft area where I was. And you can make out Mike in the very back there. And that picture hangs on a wall in my parents' home. I gave that to my father and That picture is juxtaposed against the picture of my dad when he was in the sanctuary serving. Now, why am I telling you all this? Well, this week in the news, they released more of the writings from the shooter at the Covenant School there in Nashville. The first victim that she shot and killed was Mike, the custodian who used to listen to me play the piano. Two years ago this week, I went back to Nashville to play at his funeral And I played for him one last time. I look at the horrific things about that event, and it's still surreal. It's hard to believe. Hard to believe it happened. And the unspeakable tragedy with so many. I refuse, and if this gets me in trouble, you can write letters to peter at the internet dot Google. But I refuse to call this individual a transgender or a guy. was a girl it was a woman 28 years old i believe who was very very very disturbed according to the news reports she had been writing horrifically violent plans for some time and i don't know why it wasn't caught i don't know why nobody seemed to intercept this or say something, but I just know that from the facts, she showed up that day, and Mike was the first person in her path, and she shot and killed him. And I think about all the times that Mike said to me, just keep playing, just keep playing. So I do, and I played at his funeral two years ago this week, and I played, the opening hymn was Great Is Our Faithfulness, And I got to tell you all, I laid into it. I didn't hold back. I didn't play it like a mourner. Mike wouldn't have wanted me to. Play it with conviction. Play it like a believer. And he would want me to do so. I said, this time I was in the front of the church in the choir loft area, different sanctuary. But Mike's casket was just, instead of him being at the back of the church sitting there listening, His casket was right there up front, just 10, 15 feet away from me. And these are hard things. We don't have the words for it. We groan. But we're not alone in our groaning. And I just want to leave you with today. I know this is a bit of a somber note for the show, but I wanted to leave this with because I never forget that the reason why people listen to this program is because they're hurting. And the reason why people give me an hour of their time to listen to this is because they feel like they're drowning. And I understand that sometimes the person who understands you the most is the one who's bled like you have. And I have. Still do. Many times in that sanctuary when I was playing, I was pouring out my heart because I didn't have the words for some of the things that Gracie and I were going through. Mike kept saying, just keep playing. Just keep playing. Just keep playing. The Spirit groans on our behalf. Scripture tells us to pray without ceasing. Just keep praying. Just keep praying. when we don't have the words. And that's why I'm grateful for music. I wish I had the caregiver keyboard here at this hotel while we're in this hospital visit, but I don't. So I have to make do. I look forward to being able to getting home and playing the piano some more. Just keep playing. It's a hard thing to read about that in the news. And this is the world we're in. And it's not going to get any better anytime soon. It doesn't look like. But we are not absolved from walking into that craziness and heartache with the confidence of the gospel. And that is what I am committed to doing. I've been writing a song when the shooting occurred. I've been writing a song that had it for about a month or two, but it wasn't finished. I finished it right after the shooting. In fact, I finished it within that evening because I was just so overwhelmed by watching this. And I had Gracie sing it. I titled the piece Covenant Lament. I really didn't know what else to call it. What else can you say? He's just lamenting. And I went to the words of Scripture that helped shape this. This is all Scripture. And I wanted to leave this with you all today. At the end of this program, some of you are groaning. Some of you are weeping. And I want you to know that there's one who weeps for us and groans for us. And we can trust him. Listen to Gracie sing as we take the show out today. And thank you for your time. I'm Peter Rosenberger. And I remember what my friend Mike told me. Keep playing. Just keep playing.

We cover techniques for various situations, share tips, and break down real hunting scenarios. Perfect for hunters of all levels looking to improve their skills.Which Guest is your Favorite!FACEBOOK PAGE https://www.facebook.com/profile.php?id=100093435881370&mibextid=avESrCSocial's Talon Neal https://www.facebook.com/talon.neal.33?mibextid=LQQJ4dhttps://instagram.com/talon.neal_1?igshid=NzZlODBkYWE4Ng==Instagram Pagehttps://instagram.com/artofthehunt1?igshid=NGVhN2U2NjQ0Yg==

Court Security During Murder Trials Safety Threats. In the world of law enforcement, ensuring safety in the courtroom during murder trials is a challenge that requires constant vigilance. Security threats are a real concern, and professionals like Bailiff David Lashley have firsthand experience handling high-profile cases while keeping their "Head On A Swivel." David is our guest on the Law Enforcement Talk Radio Show and Podcast. The podcast episode is available for free on our website, Apple Podcasts, Spotify and most major podcast platforms. David Lashley, a Bailiff in Knox County, Ohio, was responsible for courtroom security and operations in what he described as a quiet part of the state. Despite its small population, the area saw more than its fair share of murder trials, placing a significant burden on law enforcement officials. Over the years, Lashley encountered numerous cases that tested the limits of security procedures, including a particularly demanding mass murder trial that took a toll on him and many others involved. Follow the Law Enforcement Talk Radio Show and Podcast on Facebook, Instagram, LinkedIn, Newsbreak, Medium and most all social media platforms The Reality of Court Security During Murder Trials Safety Threats One such case that left a lasting impact was the mass murder trial stemming from a gruesome crime in November 2010. A criminal, after camping in the woods, attempted to burglarize a home but was surprised by its occupants. In a horrifying sequence of events, he murdered three people, kidnapped a young girl, and hid the bodies in a hollow tree. The ensuing investigation, arrest, and trial were complex and emotionally taxing for all involved. Look for supporting stories about this and much more from Law Enforcement Talk Radio Show and Podcast in platforms like Medium, Newsbreak and Blogspot. Threats and Challenges in High-Profile Trials Managing security during a murder trial requires meticulous planning. Lashley detailed the intense pressure of handling such cases, from dealing with graphic testimony to ensuring the safety of everyone in the courtroom. Protecting victims' privacy, managing emotional outbursts, and mitigating potential threats from the public or even the defendants themselves made these cases particularly difficult. Surprisingly, Lashley revealed that less violent cases, such as those involving domestic disputes, often provoked stronger emotional reactions and violent outbursts compared to even the most heinous murder trials. This unpredictability underscores the need for thorough training and constant situational awareness. Follow the Law Enforcement Talk Radio Show and podcast on Facebook, Instagram, LinkedIn, Newsbreak, Medium and most all social media platforms The Role of Training and Awareness In Court Security During Murder Trials Safety Threats. Situational awareness is a cornerstone of courtroom security. Bailiffs, officers, and security professionals must be prepared for any scenario. Drawing from over two decades of experience, Lashley emphasized the importance of de-escalation techniques, assertive communication, and quick decision-making in high-stakes situations. His insights are featured in the Law Enforcement Talk Radio Show, available on Apple Podcasts, Spotify, and other major platforms. His book, Eyes Wide Open, delves deeper into the principles of situational awareness and security training, offering practical advice for professionals and civilians alike. The interview is available as a free podcast on the Law Enforcement Talk Radio Show and podcast website, also available on platforms like Apple Podcasts, Spotify, and most major podcast outlets. Social Media, News, and Spreading Awareness Courtroom security is a topic that needs greater public attention. Platforms like Facebook, Instagram, LinkedIn, and X (formerly Twitter) play a crucial role in spreading awareness about safety measures, threats, and real-life experiences from professionals like Lashley. Law enforcement agencies and legal professionals must continue to use these platforms to educate and inform the public about security protocols during trials. Court Security During Murder Trials Safety Threats. Check out the show on Facebook, Instagram, LinkedIn, Newsbreak, Medium and most all social media platforms Conclusion Ensuring security during murder trials is a complex task that requires vigilance, training, and adaptability. Professionals like David Lashley demonstrate the importance of staying prepared, maintaining situational awareness, and continuously refining safety measures. As threats evolve, so must our strategies, ensuring that justice can be served without compromising safety. For more insights, the free episode of the "Law Enforcement Talk Radio Show and Podcast", is available on their website for free in addition to Apple Podcasts and Spotify, as well as through other podcast platforms. Your golden years are supposed to be easy and worry free, at least in regards to finances. If you are over 70, you can turn your life insurance policy into cash. Visit LetSavings.com, LetSavings.com or call (866) 480-4252, (866) 480-4252, again that's (866) 480 4252 to see if you qualify. Learn useful tips and strategies to increase your Facebook Success with John Jay Wiley. Both free and paid content are available on this Patreon page. Time is running out to secure the Medicare coverage you deserve! Whether you're enrolling for the first time or looking for a better plan, our experts help you compare options to get more benefits, lower costs, and keep your doctors, all for free! Visit LetHealthy.com, that's LetHealthy.com or call (866) 427-1225, (866) 427-1222 to learn more. You can help contribute money to make the Gunrunner Movie. The film that Hollywood won't touch. It is about a now Retired Police Officer that was shot 6 times while investigating Gunrunning. He died 3 times during Medical treatment and was resuscitated. You can join the fight by giving a monetary "gift" to help ensure the making of his film at agunrunnerfilm.com. You can contact John J. "Jay" Wiley by email at Jay@letradio.com, or learn more about him on their website. Get the latest news articles, without all the bias and spin, from the Law Enforcement Talk Radio Show and Podcast on the Newsbreak app, which is free. Find a wide variety of great podcasts online at The Podcast Zone Facebook Page, look for the one with the bright green logo. Be sure to check out our website. Be sure to follow us on MeWe, X, Instagram, Facebook,Pinterest, Linkedin and other social media platforms for the latest episodes and news. Background song Hurricane is used with permission from the band Dark Horse Flyer. Court Security During Murder Trials Safety Threats. Attributions Amazon: Eyes Wide Open: Courtroom to Street Situational Awareness Guide Wikipedia ABC News Wikipedia See omnystudio.com/listener for privacy information.

Many young adults enter their post-high school years without the executive functioning skills needed to thrive. This is often because the people supporting them underestimate the amount of support they're getting, and there's no plan in place to fade that prompting. When young adults enter college, they have to manage sleep hygiene, long-term projects, and manage screen time. This is why I talk so much about using multiple service delivery models when supporting executive functioning; whether it be in the schools or in private practice; because many essential life skills cannot be taught without the right environmental scaffolding in place.  That's why I invited Michael McLeod from GrowNOW therapy to talk about why he uses a combination of direct sessions, summer camps with community-based activities, parent coaching, and educator training. Michael partnered and worked with The Focus Foundation in 2015, learning from incredible doctors, neuropsychologists, and various specialists – gaining in-depth training and experience with ADHD and Executive Function research and development. He currently specializes in ADHD, Executive Functioning, Social Executive Functioning, and Parent Coaching. From his experiences as an Executive Function Specialist, Michael developed a distinct model of Internal Skills Coaching to enhance these skills. Michael is a Keynote Speaker and has presented nationwide and internationally, training families and professionals on his unique GrowNOW Treatment Model for fostering Executive Functions & Resiliency.In this conversation, we discuss:✅Do graduate programs prepare clinicians to work on executive functioning out in the field?✅Frontloading vs. traditional social skills sessions.✅Why helping families set boundaries around screen time is an essential part of the services clinicians offer.✅Defining failure to launch and what it looks like in young adults.✅Situational awareness and its impact on safety for college students. You can connect with Michael at:GrowNOWADHD.com, here: http://grownowadhd.com/GrowNOW Instagram, here: http://instagram.com/GrowNOWADHDGrowNOW School Trainings, here: https://www.grownowadhd.com/training/ADHD Parenting Podcast, here: https://open.spotify.com/show/7xATyVhNZU3abIejNIggvDListen to my previous conversations with Michael here:EP 008: Building accountability and motivation in kids with ADHD (with Mike McLeod), here: https://drkarendudekbrannan.com/ep-008-building-accountability-and-motivation-in-kids-with-adhd-with-mike-mcleod/EP 009: Time management and device use boundaries in kids with ADHD (with Mike McLeod), here: https://drkarendudekbrannan.com/ep-009-time-management-and-device-use-boundaries-for-kids-with-adhd-with-mike-mcleod/The following previous episodes were mentioned in this episode:EP 122: Executive functioning for college students: Beyond checklists and planners (with Jill Fahy), here: https://drkarendudekbrannan.com/ep-122-executive-functioning-for-college-students-beyond-checklists-and-planners-with-jill-fahy/EP 193: Using Distance Learning to Increase Access and Opportunity (with Seth Fleischauer), here: https://drkarendudekbrannan.com/ep-193-using-distance-learning-to-increase-access-and-opportunity-with-seth-fleischauer/In this episode, I mention the School of Clinical Leadership, my program that helps related service providers develop a strategic plan for putting executive functioning support in place in collaboration with their school teams. You can learn more about that program here: https://drkarendudekbrannan.com/clinicalleadership We're thrilled to be sponsored by IXL. IXL's comprehensive teaching and learning platform for math, language arts, science, and social studies is accelerating achievement in 95 of the top 100 U.S. school districts. Loved by teachers and backed by independent research from Johns Hopkins University, IXL can help you do the following and more:Simplify and streamline technologySave teachers' timeReliably meet Tier 1 standardsImprove student performance on state assessments

In this episode of Memoirs of an LDS Servant Teacher, we dive deep into a painful cycle many couples face: why wives struggle to feel safe and why husbands feel like no matter what they do, they can't get it right.What happens when she's triggered but doesn't have the words to explain why? When he feels judged and overwhelmed, but doesn't know how to fix it? What if neither partner truly understands their own emotional wiring—let alone each other's?This episode unpacks:✔️ The “peanut dust” analogy—why some things affect one spouse deeply while the other doesn't even notice.✔️ Situational empathy: how husbands can learn through observation, not just conversation.✔️ Why men equate competency with safety, and how failure feels like a personal attack.✔️ How couples can predict and prepare for Satan's strategic attacks on their relationship.✔️ The role of deep reflection (D-PAR) in moving forward after emotional collisions.If you've ever asked, “Why does this bother her so much?” or “Why can't he just listen and take me seriously?”—this episode is for you.Want to read more about this topic? ⁠⁠⁠⁠⁠⁠https://www.lifechangingservices.org/advice-to-my-12-year-old-self/Rather Watch Something? ⁠https://www.youtube.com/watch?v=z19MHfqpEsA&t=5sCheck out the Marriage Repair Workshops: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.lifechangingservices.org/marriage-repair/⁠

People spend a huge portion of their lives at work, so it's no surprise that workplace relationships happen. But without clear policies, they can lead to conflicts of interest, unprofessional behavior, and even legal risks. When should employees disclose a relationship? How can HR set expectations without overstepping? What role does HR play in preventing harassment at work? A good workplace dating policy answers these questions while keeping things fair, professional, and easy to understand.Join us as Vanessa Brulotte, Employee Relations Partner at BambooHR, interviews Kelsey Tarp, Director of HR Business Partners at BambooHR, about creating proper dating policies to protect employees and the company. Kelsey shares real examples of how unclear policies can create workplace tension and why disclosure matters for preventing favoritism and bias. Most importantly, Vanessa and Kelsey explore how to ensure workplace relationships—whether they begin or end—don't disrupt team dynamics.Key takeaways:Why every workplace needs a dating policyHow to create a policy that employees understandNavigating tricky situations with discretionKey topics:(00:00) Introducing Kelsey Tarp(02:20) Craft a workplace dating policy(05:55) Ensure employees understand your dating policy(12:37) Which relationships need disclosure?(18:44) Code of conduct for professional behavior and anti-harassment(23:03) Build psychological safety through transparency(30:24) Encourage respectful relationships and accountability(34:35) Situational judgment for out-of-the-box situations(37:49) When in doubt, always disclose Key links:Download a free, customizable template for creating your own workplace dating policy:https://www.bamboohr.com/pl-pages/employee-dating-policyRead BambooHR's blog, “Workplace Romance 101”:https://www.bamboohr.com/blog/workplace-romanceRead BambooHR's blog, “8 Workplace Romance Facts You Need to Know”: https://www.bamboohr.com/blog/8-workplace-romance-facts-need-know-right-nowSubscribe to HR Unplugged Series: https://www.bamboohr.com/resources/podcasts/hr-unplugged/Join HR Heroes Slack Community:https://join.slack.com/t/hrheroesworkspace/shared_invite/zt-21ad3f1r8-dkWC2EdmyhxUAHw9cGLdQwBambooHR Homepage: https://www.bamboohr.com/Connect with Kelsey on LinkedIn: https://www.linkedin.com/in/kelseytarp/

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

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   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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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 theatres 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 cancelled 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 Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – 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 Centre 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.   
Special thanks to Wikipedia. #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 
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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     Dad's Army   Dad's Army is a British television sitcom about the United Kingdom's Home Guard during the Second World War. It was written by Jimmy Perry and David Croft, and originally broadcast on BBC1 from 31 July 1968 to 13 November 1977. It ran for nine series and 80 episodes in total; a feature film released in 1971, a stage show and a radio version based on the television scripts were also produced. The series regularly gained audiences of 18 million viewers and is still shown internationally. The Home Guard consisted of local volunteers otherwise ineligible for military service, either because of age (hence the title Dad's Army), medical reasons or by being in professions exempt from conscription. Most of the platoon members in Dad's Army are over military age and the series stars several older British actors, including Arnold Ridley, John Laurie, Arthur Lowe and John Le Mesurier. Younger members of the cast included Ian Lavender, Clive Dunn (who, despite being one of the younger cast members, played the oldest guardsman, Lance Corporal Jones) and James Beck (who died suddenly during production of the sixth series in 1973). Other regular cast members included Frank Williams as the vicar, Edward Sinclair as the verger, and Bill Pertwee as the chief ARP warden. The series has influenced British popular culture, with its catchphrases and characters being widely known. The Radio Times magazine listed Captain Mainwaring's "You stupid boy!" among the 25 greatest put-downs on TV. A 2001 Channel 4 poll ranked Captain Mainwaring 21st on its list of the 100 Greatest TV Characters. In 2004, Dad's Army came fourth in a BBC poll to find Britain's Best Sitcom. It was placed 13th in a list of the 100 Greatest British Television Programmes, drawn up by the British Film Institute in 2000, and voted for by industry professionals. A second feature film of Dad's Army with a different cast was released in 2016. In 2019, UKTV recreated three missing episodes for broadcast in August that year on its Gold channel under the title Dad's Army: The Lost Episodes. It starred Kevin McNally and Robert Bathurst as Captain Mainwaring and Sergeant Wilson. Origins Co-writers David Croft and Jimmy Perry during a Dad's Army event at Bressingham Steam Museum, May 2011 Originally intended to be called The Fighting Tigers, Dad's Army was based partly on co-writer and creator Jimmy Perry's experiences in the Local Defence Volunteers (LDV, later known as the Home Guard) and highlighted a somewhat forgotten aspect of defence during the Second World War. Perry was only 16 when he joined the 10th Hertfordshire Battalion. His mother did not like him being out at night, and feared he might catch a cold; he partly resembled the character of Private Pike. An elderly lance corporal in the 10th Hertfordshire often referred to fighting under Kitchener against the "Fuzzy Wuzzies" (Hadendoa), and was the model for Lance Corporal Jones. Other influences included the work of comedians such as Will Hay, whose film Oh, Mr Porter! featured a pompous ass, an old man and a young man; together, this gave Perry the ideas for Mainwaring, Godfrey and Pike. Film historian Jeffrey Richards has cited Lancastrian comedian Robb Wilton as a key influence; Wilton portrayed a work-shy husband who joined the Home Guard in numerous comic sketches during World War II. Perry wrote the first script and sent it to David Croft while working as a minor actor in the Croft-produced sitcom Hugh and I, originally intending the role of the spiv, later called Walker, to be his own. Croft was impressed and sent the script to Michael Mills, the BBC's head of comedy, and the series was commissioned. In his book Dad's Army: The Story of a Classic Television Show, Graham McCann explains that the show owes much to Michael Mills. It was he who renamed the show Dad's Army. He did not like Brightsea-on-Sea, so the location was changed to Walmington-on-Sea. He was happy with the names for the characters Mainwaring, Godfrey and Pike, but not with other names, and he made suggestions: Private Jim Duck became James Frazer, Joe Fish became Joe Walker and Jim Jones became Jack Jones. He also suggested adding a Scot. Jimmy Perry had produced the original idea, but needed a more experienced partner to see it through, so Mills suggested David Croft and this launched the beginning of their professional association. When an episode was screened to members of the public to gauge audience reaction prior to broadcast of the first series, the majority of the audience thought it was very poor. The production team put the report containing the negative comments at the bottom of David Croft's in-tray. He only saw it several months later,[16] after the series had been broadcast and received a positive response. Situation The series is set in the fictional seaside town of Walmington-on-Sea, located on the south coast of England, not far from Eastbourne. The exterior scenes were mostly filmed in and around the Stanford Training Area (STANTA), near Thetford, Norfolk.[19] Walmington, and its Home Guard platoon, would be on the frontline in the event of a German invasion across the English Channel. The first series has a loose narrative thread, with Captain Mainwaring's platoon being formed and equipped, initially with wooden guns and LDV armbands, later on with full army uniforms; the platoon is part of the Queen's Own Royal West Kent Regiment. The first episode, "The Man and the Hour", begins with a scene set in the then-present day of 1968, in which Mainwaring addresses his old platoon as part of the contemporary '"I'm Backing Britain" campaign. The prologue opening was a condition imposed after initial concerns from Paul Fox, the BBC1 controller, that it belittled the efforts of the Home Guard. After Mainwaring relates how he had backed Britain in 1940, the episode proper begins; Dad's Army is thus told in flashback, although the final episode does not return to 1968. Later episodes are largely self-contained, albeit referring to previous events and with additional character development. As the comedy in many ways relies on the platoon's lack of participation in the Second World War, opposition to their activities must come from another quarter, and this is generally provided by Chief Air Raid Precautions (ARP) Warden Hodges, and sometimes by the verger of the local church (St Aldhelm's) or by Captain Square and the neighbouring Eastgate Home Guard platoon. The group, however, does have some encounters related to the enemy, such as downed German planes, a Luftwaffe pilot who parachutes into the town's clock tower, a U-boat crew and discarded parachutes that may have been German; a Viennese ornithologist appears in "Man Hunt" and an IRA suspect appears in "Absent Friends". The humour ranges from the subtle (especially the class-reversed relationship between grammar school-educated Mainwaring, the local bank manager, and public school-educated Wilson, his deputy at the bank) to the slapstick (the antics of the elderly Jones being a prime example). Jones had several catchphrases, including "Don't panic!" (while panicking himself), "They don't like it up 'em!", "Permission to speak, sir?", "Handy-hock!" and his tales about the "Fuzzy-Wuzzies". Mainwaring's catchphrase to Pike is "You stupid boy", which he uses in many episodes. Other cast members used catchphrases, including Sergeant Wilson, who regularly asked, "Do you think that's wise, sir?" when Captain Mainwaring made a suggestion. The early series occasionally included darker humour, reflecting that, especially early in the war, the Home Guard was woefully under-equipped but was still willing to resist the Wehrmacht. For instance, in the episode "The Battle of Godfrey's Cottage", the platoon believes the enemy has invaded Britain. Mainwaring, Godfrey, Frazer and Jones (along with Godfrey's sisters, who are completely unaware of the invasion) decide to stay at the cottage to delay the German advance, buying the regular army time to arrive with reinforcements; "It'll probably be the end of us, but we're ready for that, aren't we, men?" says Mainwaring. "Of course," replies Frazer. Characters Private Pike (Ian Lavender) ARP Warden Hodges (Bill Pertwee) Private Frazer (John Laurie) Private Godfrey (Arnold Ridley) Captain Mainwaring (Arthur Lowe) Private Walker (James Beck) Lance Corporal Jones (Clive Dunn) Sergeant Wilson (John Le Mesurier) Main characters Captain George Mainwaring  (Arthur Lowe), the pompous, if essentially brave and unerringly patriotic local bank manager. Mainwaring appointed himself leader of his town's contingent of Local Defence Volunteers. He had been a lieutenant in the First World War but is embarrassed by the fact that he never saw combat, only being sent to France in 1919 after the Armistice as part of the Army of Occupation in Germany. The character, along with Wilson, also appeared in the original pilot episode of the radio series It Sticks Out Half a Mile. Sergeant Arthur Wilson (John Le Mesurier), a diffident, upper-middle-class chief bank clerk who often quietly questions Mainwaring's judgement ("Do you think that's wise, sir?"). Wilson had actually served as a captain during the First World War, but he only reveals this in the final episode. He does not live with the Pike family, but is implied to be in a relationship with the widowed Mrs Pike. Wilson also appears in the later radio series It Sticks Out Half a Mile. Lance Corporal Jack Jones (Clive Dunn), the local butcher, born in 1870. Jones is an old campaigner who enlisted as a drummer boy at the age of 14 and participated, as a boy soldier, in the Gordon Relief Expedition of 1884–85 and, as an adult, in Kitchener's campaign in the Sudan in 1896–98. Jones also served during the Boer War and the Great War. He often suffers from the effects of malaria caught during one of his campaigns and has to be calmed during his "shudders". Often seen as fastidious and a worrier, he has a number of catchphrases, including "They don't like it up 'em!" and "Don't panic, don't panic!", which he says whilst panicking. Dunn was considerably younger than his character, being only 46 when the series began. This meant he often performed the physical comedy of the show, which some of the older cast members were no longer capable of. Private James Frazer (John Laurie), a dour Scottish former chief petty officer on HMS Defiant in the Royal Navy. He served at the Battle of Jutland as a ship's cook and also has a medal for having served on Shackleton's Antarctic expedition. He grew up on the Isle of Barra and is prone to theatrical poetry. In episode one, he states that he owns a philately shop, but subsequently his profession is changed to an undertaker. His catchphrase is "We're doomed. Doomed!" Private Joe Walker (James Beck), a black market spiv, Walker is one of only two able-bodied men of military age among the main characters (the other one being Private Pike). In the first episode, Walker claims he was not called up to the regular army because he was in a reserved occupation as a wholesale supplier. In one of the missing episodes, it is revealed that he was not called up because of an allergy to corned beef. Although always on the lookout to make money, Walker is also seen to support local charities, including a children's home. Following James Beck's death in 1973, Walker was written out of the series. Private Charles Godfrey (Arnold Ridley), a retired shop assistant who had worked at the Army & Navy store in London. He lives in Walmington with his elderly sisters and serves as the platoon's medical orderly. He has a weak bladder and often needs to "be excused". A conscientious objector during the First World War, he was nevertheless awarded the Military Medal for heroic actions as a combat medic during the Battle of the Somme. He also demonstrates bravery during his Home Guard service, particularly during the "Branded" episode in which Mainwaring, unconscious in a smoke-filled room, is rescued by Godfrey. Private Frank Pike (Ian Lavender), the youngest of the platoon. He is a cosseted, somewhat immature mother's boy, often wearing a thick scarf over his uniform to prevent illness and a frequent target for Mainwaring's derision ("You stupid boy!"). Pike is not called up to the regular army due to his rare blood group (in series eight, he is excused for this reason). He works in his day job as an assistant bank clerk for Mainwaring. He frequently addresses Sergeant Wilson as "Uncle Arthur". However, on the last day of filming, David Croft confirmed to Lavender that Wilson was in fact Pike's father. Pike would later appear in the radio series It Sticks Out Half a Mile. Supporting characters Chief ARP Warden William Hodges (Bill Pertwee), the platoon's major rival and nemesis. He calls Mainwaring "Napoleon". Mainwaring looks down on him as the local greengrocer and dislikes that Hodges saw active service in the First World War. As an Air Raid Precautions (ARP) warden, he is always demanding that people "Put that light out!". He often calls the platoon "Ruddy hooligans!". The character of Hodges would later appear in the radio series It Sticks Out Half a Mile. Reverend Timothy Farthing (Frank Williams), the effete, petulant vicar of St Aldhelm's Church. He reluctantly shares his church hall and office with the platoon. In several episodes of the series, it was implied that the character was a non-active closet gay. Maurice Yeatman (Edward Sinclair), the verger at St Aldhelm's Church and Scoutmaster of the local Sea Scout troop. He is often hostile to the platoon while frequently sycophantic towards the vicar, who often struggles to tolerate him and frequently employs the catchphrase "Oh do be quiet, Mr Yeatman!". He often sides with Hodges to undermine the platoon's activities. Mrs Mavis Pike (Janet Davies), Pike's overbearing widowed mother, who is often implied to be in a relationship with Sergeant Wilson. Liz Frazer replaced Janet Davies in the 1971 film version. Mrs Fox (Pamela Cundell), a glamorous widow. There is a mutual attraction with Corporal Jones and the couple marry in the last episode. Illicit little "extras" are passed across the counter on her regular visits to Jones's butcher's shop and she helps the platoon with official functions. In the episode "Mum's Army", she gives her first name as Marcia, but by the final episode she is addressed as Mildred. Colonel Pritchard (Robert Raglan), Captain Mainwaring's superior officer. A stern, serious man, he unexpectedly appeared to admire Mainwaring, frequently commenting on his successes and warning people not to underestimate him. Private Sponge (Colin Bean), a sheep farmer. He leads the members of the platoon's second section (the first section being led by Corporal Jones) and thus had only occasional speaking parts, although he became more prominent in later series. He appeared in 76 of the 80 episodes. Mr Claude Gordon (Eric Longworth), the Walmington town clerk often involved when the platoon is taking part in local parades and displays. Although generally civil with Captain Mainwaring and his men, he is an officious and somewhat pompous individual, and Hodges tends to use him to try and interfere with the platoon's activities. Private Cheeseman (Talfryn Thomas), a Welshman who works for the town newspaper. He joined the Walmington-on-Sea platoon during the seventh series only after the sudden death of James Beck, who played Private Walker. Captain Square (Geoffrey Lumsden), the pompous commanding officer of the rival Eastgate platoon, and a former regular soldier who served with Lawrence of Arabia during the First World War. He is frequently at loggerheads with Mainwaring (whose name he persists in mispronouncing as spelt, "Main-wearing", instead of the correct "Mannering") and has the catchphrase "You blithering idiot!". Mrs Yeatman (Olive Mercer), the somewhat tyrannical wife of Maurice Yeatman, the verger. Over the course of the series, her first name is given as either Beryl, Anthea or Tracey. Mr Sidney Bluett (Harold Bennett), an elderly local man who is occasionally involved with the antics of both the platoon and Hodges. He and Mrs Yeatman are implied to be having an affair. Miss Janet King (Caroline Dowdeswell), a clerk at Swallow Bank who works with Mainwaring, Wilson and Pike in the first series. Edith Parish (Wendy Richard), also called Shirley, a cinema usherette and girlfriend of Private Walker. Dolly (Amy Dalby and Joan Cooper) and Cissy Godfrey (Nan Braunton and Kathleen Saintsbury), Private Godfrey's spinster sisters, who reside with him at their cottage. Elizabeth Mainwaring (unseen character), George Mainwaring's reclusive, paranoid and domineering wife who is never seen onscreen in the TV series. (In the episode "A Soldier's Farewell" her "shape" is seen sleeping in the bunk above the captain while in their Anderson Shelter.) Her marriage to George is not a happy one and he does his best to avoid her at any opportunity. They have no children. Mrs Mainwaring had a significant on screen role in the 2016 film. Other actors who appeared in small roles include Timothy Carlton, Don Estelle, Nigel Hawthorne, Geoffrey Hughes, Michael Knowles, John Ringham, Fulton Mackay, Anthony Sagar, Anthony Sharp, Carmen Silvera and Barbara Windsor. Larry Martyn appeared as an unnamed private in four episodes, and later took over the part of Walker in the radio series following the death of James Beck. The former cricketer Fred Trueman appeared in "The Test". Opening and closing credits The show's opening titles were originally intended to feature footage of refugees and Nazi troops, to illustrate the threat faced by the Home Guard. Despite opposition from the BBC's head of comedy Michael Mills, Paul Fox, the controller of BBC1, ordered that these be removed on the grounds that they were offensive. The replacement titles featured the animated sequence of swastika-headed arrows approaching Britain.[25] Originally in black and white, the opening titles were updated twice; firstly in series three, adding colour and improved animation, and once again in series six, which made further improvements to the animation. There were two different versions of the closing credits used in the show. The first version, used in series one and two, simply showed footage of the main cast superimposed over a still photograph, with the crew credits rolling over a black background. The better-known closing credits, introduced in series three, were a homage to the end credits of The Way Ahead (1944), a film which had covered the training of a platoon during the Second World War. In both instances, each character is shown as they walk across a smoke-filled battlefield. One of the actors in Dad's Army, John Laurie, also appeared in that film, and his performance in the end credits of The Way Ahead appears to be copied in the sitcom. Coincidentally, the film's lead character (played by David Niven) is named Lieutenant Jim Perry. Following this sequence, the end credits roll, and the platoon is shown in a wide angle shot as, armed, they run towards the camera, while bombs explode behind them. As the credits come to an end, the platoon run past the camera and the all clear siren rings, before the screen fades to black. Music The show's theme tune, "Who Do You Think You Are Kidding, Mr Hitler?" was Jimmy Perry's idea, written especially for the show and intended as a gentle pastiche of wartime songs. The other songs were authentic 1940s music recordings. Perry wrote the lyrics and composed the music with Derek Taverner. Perry persuaded one of his childhood idols, wartime entertainer Bud Flanagan, to sing the theme for 100 guineas (equivalent to £2,400 in 2023). Flanagan died less than a year after the recording. At the time it was widely believed to be a wartime song. The music over the opening credits was recorded at Riverside Studios, Flanagan being accompanied by the Orchestra of the Band of the Coldstream Guards. The version played over the opening credits differs slightly from the full version recorded by Flanagan; an edit removes, for timing reasons, two lines of lyric with the "middle eight" tune: "So watch out Mr Hitler, you have met your match in us/If you think you can crush us, we're afraid you've missed the bus." (The latter lyric is a reference to a speech by Neville Chamberlain.) Bud Flanagan's full version appears as an Easter egg on the first series DVD release and on the authorised soundtrack CD issued by CD41. Arthur Lowe also recorded a full version of the theme. The closing credits feature an instrumental march version of the song played by the Band of the Coldstream Guards conducted by Captain (later Lieutenant Colonel) Trevor L. Sharpe, ending with the air-raid warning siren sounding all-clear. It is accompanied by a style of credits that became a trademark of David Croft: the caption "You have been watching", followed by vignettes of the main cast. The series also contains genuine wartime and period songs between scenes, usually brief quotations that have some reference to the theme of the episode or the scene. Many appear on the CD soundtrack issued by CD41, being the same versions used in the series. Episodes List of Dad's Army episodes The television programme lasted nine series and was broadcast over nine years, with 80 episodes in total, including three Christmas specials and an hour-long special. At its peak, the programme regularly gained audiences of 18.5 million.[35] There were also four short specials broadcast as part of Christmas Night with the Stars in 1968, 1969, 1970 and 1972; one of which was also restaged as part of the Royal Variety Performance 1975. Missing episodes Main article: Dad's Army missing episodes The first two series were recorded and screened in black-and-white, while series three to nine were recorded and screened in colour. Even so, one episode in series three, "Room at the Bottom", formerly survived only as a 16mm black-and-white film telerecording, made for overseas sales to countries not yet broadcasting in colour; and remains on the official DVD releases in this form. This episode has benefited from colour recovery technology, using a buried colour signal (chroma dots) in the black-and-white film print to restore the episode to colour and was transmitted on 13 December 2008 on BBC Two. The newly restored colour version of "Room at the Bottom" was eventually made commercially available in 2023, when it appeared as an extra on the DVD release Dad's Army: The Missing Episodes, with a specially filmed introduction by Ian Lavender. Dad's Army was less affected than most from the wiping of videotape, but three second-series episodes remain missing: episode nine "The Loneliness of the Long Distance Walker", episode eleven "A Stripe for Frazer" and episode 12 "Under Fire". (All three missing episodes were among those remade for BBC Radio with most of the original cast, adapted from the original TV scripts. Audio recordings of all three were included as bonus features on The Complete Series DVD Collection.) Two further series two episodes, "Operation Kilt" and "The Battle of Godfrey's Cottage", were thought lost until 2001.[8] Two of the three missing episodes have since been performed as part of the latest stage show. In 2008, soundtracks of the missing episode "A Stripe for Frazer" and the 1968 Christmas Night with the Stars segment "Present Arms" were recovered. The soundtrack of "A Stripe for Frazer" has been mixed with animation to replace the missing images.[36] The audio soundtrack for the "Cornish Floral Dance" sketch, from the 1970 episode of Christmas Night with the Stars, has also been recovered. Dad's Army: The Lost Episodes (2019) In 2018, UKTV announced plans to recreate the three missing episodes for broadcast on its Gold channel. Mercury Productions, the company responsible for Saluting Dad's Army, Gold's 50th anniversary tribute series, produced the episodes, which were directed by Ben Kellett. The recreations were broadcast in August 2019, coinciding with the 50th anniversary of their original broadcast by the BBC.[37] Kevin McNally and Robert Bathurst were the initial casting announcements as Captain Mainwaring and Sergeant Wilson, with Bernard Cribbins portraying Private Godfrey. The full cast was announced in January 2019, with McNally, Bathurst and Cribbins joined by Kevin Eldon, Mathew Horne, David Hayman and Tom Rosenthal. However, Bernard Cribbins subsequently withdrew from the project, and was replaced as Godfrey by Timothy West. Cast Kevin McNally as Captain Mainwaring Robert Bathurst as Sergeant Wilson Kevin Eldon as Lance Corporal Jones David Hayman as Private Frazer Mathew Horne as Private Walker Timothy West as Private Godfrey Tom Rosenthal as Private Pike Tracy-Ann Oberman as Mrs Pike Simon Ludders as ARP Warden Hodges David Horovitch as Corporal-Colonel Square John Biggins as the Verger Films 1971 film Main article: Dad's Army (1971 film) In common with many British sitcoms of that era, Dad's Army was spun-off as a feature film which was released in 1971. Backers Columbia Pictures imposed arbitrary changes, such as recasting Liz Fraser as Mavis Pike and filming locations in Chalfont St Giles, Buckinghamshire, rather than Thetford in Norfolk, which made the cast unhappy. The director, Norman Cohen, whose idea it was to make the film, was nearly sacked by the studio.: 168  Jimmy Perry and David Croft wrote the original screenplay. This was expanded by Cohen to try to make it more cinematic; Columbia executives made more changes to plot and pacing. As finally realised, two-thirds of the film consists of the creation of the platoon; this was the contribution of Perry and Croft, and differs in a number of ways from the formation of the platoon as seen in the first series of the television version. The final third shows the platoon in action, rescuing hostages from the church hall where they had been held captive by the crewmen of a downed German aircraft. Neither the cast nor Perry and Croft were happy with the result. Perry argued for changes to try to reproduce the style of the television series, but with mixed results. Filming took place from 10 August to 25 September 1970 at Shepperton Studios and on location. After shooting the film, the cast returned to working on the fourth television series. The film's UK première was on 12 March 1971 at the Columbia Theatre, London. Critical reviews were mixed, but it performed well at the UK box-office. Discussions were held about a possible sequel, to be called Dad's Army and the Secret U-Boat Base, but the project never came to fruition.  Michael Gambon as Private Godfrey (2014) 2016 film Main article: Dad's Army (2016 film) A second film, written by Hamish McColl and directed by Oliver Parker, was released in 2016. The cast included Toby Jones as Captain Mainwaring, Bill Nighy as Sergeant Wilson, Tom Courtenay as Lance Corporal Jones, Michael Gambon as Private Godfrey, Blake Harrison as Private Pike, Daniel Mays as Private Walker and Bill Paterson as Private Frazer. Catherine Zeta-Jones, Sarah Lancashire and Mark Gatiss also featured. The film was primarily shot on location in Yorkshire. Filming took place on the beach at North Landing, Flamborough Head, Yorkshire and at nearby Bridlington. It opened in February 2016 to mainly negative reviews. Stage show Main article: Dad's Army (stage show) A poster advertising the stage show In 1975, Dad's Army transferred to the stage as a revue, with songs, familiar scenes from the show and individual "turns" for cast members. It was created by Roger Redfarn, who shared the same agent as the series' writers. Most of the principal cast transferred with it, with the exception of John Laurie, who was replaced by Hamish Roughead.[8] Following James Beck's death two years earlier, Walker was played by John Bardon.[8] Dad's Army: A Nostalgic Music and Laughter Show of Britain's Finest Hour opened at Billingham in Teesside on 4 September 1975 for a two-week tryout. After cuts and revisions, the show transferred to London's West End and opened at the Shaftesbury Theatre on 2 October 1975. On the opening night there was a surprise appearance by Chesney Allen, singing the old Flanagan and Allen song Hometown with Arthur Lowe. The show ran in the West End until 21 February 1976, disrupted twice by bomb scares and then toured the country until 4 September 1976. Clive Dunn was replaced for half the tour by Jack Haig (David Croft's original first choice for the role of Corporal Jones on television). Jeffrey Holland, who went on to star in several later Croft sitcoms, also had a number of roles in the production. The stage show, billed as Dad's Army—The Musical, was staged in Australia and toured New Zealand in 2004–2005, starring Jon English. Several sections of this stage show were filmed and have subsequently been included as extras on the final Dad's Army DVD. In April 2007, a new stage show was announced with cast members including Leslie Grantham as Private Walker and Emmerdale actor Peter Martin as Captain Mainwaring. The production contained the episodes "A Stripe for Frazer", "The Loneliness of the Long Distance Walker", "Room at the Bottom" and "The Deadly Attachment". In August 2017, a new two-man stage show titled, Dad's Army Radio Hour, opened at the Edinburgh Festival Fringe It starred David Benson and Jack Lane. Between them, the pair voiced the entire cast of Dad's Army, including incidental characters. The episodes adapted from the original radio scripts were "The Deadly Attachment", "The Day the Balloon Went Up", "Brain Versus Brawn", "My British Buddy", "Round and Round Went the Great Big Wheel" and "Mum's Army". The production featured three episodes not adapted for the radio series "When You've Got to Go", "My Brother and I" and "Never Too Old". The show was well received by critics and the David Croft estate for its respectful and uncanny performances. In 2019, the production changed its name to Dad's Army Radio Show and continued to tour nationally throughout the UK until the end of 2021. Radio series List of Dad's Army radio episodes The majority of the television scripts were adapted for BBC Radio 4 with the original cast, although other actors played Walker after James Beck's death (which took place soon after recording and before transmission of the first radio series). Harold Snoad and Michael Knowles were responsible for the adaptation,[8] while wartime BBC announcer John Snagge set the scene for each episode. Different actors were used for some of the minor parts: for example Mollie Sugden played the role of Mrs Fox, and Pearl Hackney played Mrs Pike. The first episode was based on the revised version of events seen in the opening of the film version, rather than on the television pilot. The series ran for three series and 67 episodes from 1974-76.[8] The entire radio series has been released on CD. Knowles and Snoad developed a radio series, It Sticks Out Half a Mile, which followed Sergeant Wilson, Private Pike and Warden Hodges's attempts to renovate a pier in the fictional town of Frambourne-on-Sea following the end of the war. It was originally intended to star Arthur Lowe and John Le Mesurier, but Lowe died after recording the pilot episode in 1981. In consequence, Bill Pertwee and Ian Lavender were brought in to replace him. In the event the revised cast recorded a 13-episode series. John Le Mesurier died in November 1983, making another series impossible. The last radio recording of Dad's Army occurred in 1995, when Jimmy Perry wrote a radio sketch entitled The Boy Who Saved England for the "Full Steam A-Hudd" evening broadcast on BBC Radio 2, transmitted on 3 June 1995 on the occasion of the closure of the BBC's Paris studios in Lower Regent Street. It featured Ian Lavender as Pike, Bill Pertwee as Hodges, Frank Williams as the Vicar and Jimmy Perry as General Haverlock-Seabag. American adaptation A pilot episode for an American remake called The Rear Guard, adapted for American viewers by Arthur Julian, was produced by the ABC and broadcast on 10 August 1976, based on the Dad's Army episode "The Deadly Attachment".[8] Set in Long Island, the pilot starred Cliff Norton as Captain Rosatti, Lou Jacobi as Sergeant Raskin and Eddie Foy Jr. as Lance Corporal Wagner. The pilot was considered a failure, so the original tapes were wiped. However, director Hal Cooper kept a copy of the pilot, which was returned to several collectors in 1998. Though further storylines were planned, the series failed to make it past the pilot stage. Other appearances Lowe, Le Mesurier, Laurie, Beck, Ridley and Lavender (wearing Pike's signature scarf) appeared as guests in the 22 April 1971 edition of The Morecambe & Wise Show on BBC2 in the "Monty on the Bonty" sketch, with Lowe as Captain Bligh and the others as crewmen on HMS Bounty. Lowe, Le Mesurier and Laurie again made a cameo appearance as their Dad's Army characters in the 1977 Morecambe & Wise Christmas Special. While Elton John is following incomprehensible instructions to find the BBC studios, he encounters them in a steam room. On leaving, Mainwaring calls him a "stupid boy". Arthur Lowe twice appeared on the BBC children's programme Blue Peter. The first time, in 1973, was with John Le Mesurier, in which the two appeared in costume and in character as Captain Mainwaring and Sergeant Wilson. Together they viewed and discussed a mural painted by schoolchildren, featuring the characters from the show at a Christmas party, among whom was Mainwaring's unseen wife Elizabeth – or rather, what the children thought she looked like (Mainwaring remarks "Good grief. What a remarkable likeness!"). Arthur Lowe made a second appearance as Captain Mainwaring on Blue Peter with the Dad's Army van, which would appear in the forthcoming London-Brighton run, and showed presenter John Noakes the vehicle's hidden anti-Nazi defences.[29][59] Later that year, Lowe, Le Mesurier, Dunn, Lavender and Pertwee, along with Jones's van, appeared in character at the finish of the 1974 London to Brighton Veteran Car Run. The cast appeared in a 1974 public information film, in character but set in the modern day, in which the platoon demonstrated how to cross the road safely at Pelican crossings. Lowe and Le Mesurier made a final appearance as their Dad's Army characters for a 1982 television commercial advertising Wispa chocolate bars. Clive Dunn made occasional appearances as Lance Corporal Jones at 1940s themed events in the 1980s and 1990s and on television on the BBC Saturday night entertainment show Noel's House Party on 27 November 1993. Awards During its original television run, Dad's Army was nominated for multiple British Academy Television Awards, although only won "Best Light Entertainment Programme" in 1971. It was nominated as "Best Situation Comedy" in 1973, 1974 and 1975. In addition, Arthur Lowe was frequently nominated for "Best Light Entertainment Performance" in 1970, 1971, 1973, 1975 and 1978. In 2000, the show was voted 13th in a British Film Institute poll of industry professionals of the 100 Greatest British Television Programmes. In 2004, championed by Phill Jupitus, it came fourth in the BBC poll to find Britain's Best Sitcom with 174,138 votes. Legacy Statue of Captain Mainwaring, erected in Thetford in June 2010 In June 2010, a statue of Captain Mainwaring was erected in the Norfolk town of Thetford where most of the exteriors for the TV series were filmed. The statue features Captain Mainwaring sitting to attention on a simple bench in Home Guard uniform, with his swagger stick across his knees. The statue is mounted at the end of a winding brick pathway with a Union Flag patterned arrowhead to reflect the opening credits of the TV series and the sculpture has been designed so that members of the public can sit beside Captain Mainwaring and have their photograph taken. The statue was vandalised not long after the unveiling by a 10-year-old boy, who kicked it for ten minutes and broke off the statue's glasses, throwing them into a nearby river. The statue has since been fixed. Several references to Dad's Army have been made in other television series. In a 1995 episode of Bottom, titled "Hole", Richie shouts Lance Corporal Jones's catchphrase while stuck up a Ferris wheel set to be demolished the following day. The British sitcom Goodnight Sweetheart paid tribute to Dad's Army in episode one of its second series in 1995, "Don't Get Around Much Any More". Here, lead character Gary Sparrow (Nicholas Lyndhurst) – a time-traveller from the 1990s – goes into a bank in 1941 and meets a bank manager named Mainwaring (Alec Linstead) and his chief clerk, Wilson (Terrence Hardiman), both of whom are in the Home Guard. When he hears the names Mainwaring and Wilson, Gary begins singing the Dad's Army theme song.[72] In addition, a brief visual tribute to Dad's Army is made at the start of the episode "Rag Week" from Ben Elton's 1990s sitcom The Thin Blue Line: a shopfront bears the name "Mainwaring's". In June 2018 the Royal Mail issued a set of eight stamps, featuring the main characters and their catchphrases, to mark the comedy's 50th anniversary. In 2020, Niles Schilder, for the Dad's Army Appreciation Society, wrote four short scripts which detailed how the characters from the series would have, in the author's opinion, dealt with the events of that year. Titles of the scripts included Dad's Army Negotiates Brexit and An Unauthorised Gathering. Cultural influence A pub in Shoeburyness named (albeit incorrectly) after Arthur Lowe's character The characters of Dad's Army and their catchphrases are well known in the UK due to the popularity of the series when originally shown and the frequency of repeats. Jimmy Perry recalls that before writing the sitcom, the Home Guard was a largely forgotten aspect of Britain's defence in the Second World War, something which the series rectified.  In a 1972 Radio Times interview, Arthur Lowe expressed surprise at the programme's success: We expected the show to have limited appeal, to the age group that lived through the war and the Home Guard. We didn't expect what has happened – that children from the age of five upwards would enjoy it too. By focusing on the comic aspects of the Home Guard in a cosy south coast setting, the television series distorted the popular perception of the organisation. Its characters represented the older volunteers within the Home Guard, but largely ignored the large numbers of teenagers and factory workers who also served. Accounts from Home Guard members and their regimental publications inspired Norman Longmate's history The Real Dad's Army (1974). Media releases Main articles: List of Dad's Army books and memorabilia and List of Dad's Army audio releases The first DVD releases of Dad's Army were two "best of" collections, released by the BBC and distributed by 2 Entertain, in October 2001 and September 2002. The first series and the surviving episodes of the second series, along with the documentary Dad's Army: Missing Presumed Wiped, were released in September 2004,[80] while the final series was released in May 2007.[81] In November 2007, the final episodes, the three specials "Battle of the Giants!", "My Brother and I" and "The Love of Three Oranges", were released, along with Dad's Army: The Passing Years documentary, several Christmas Night with the Stars sketches, and excerpts from the 1975-76 stage show.[82] From the third series DVD, We Are the Boys..., a short individual biographical documentary about the main actors and the characters they portrayed on the programme, was included as a special feature. The Columbia film adaptation is separately available; as this is not a BBC production, it is not included in the box set. In 1973 the series was adapted into a comic strip, drawn by Bill Titcombe, which was published in daily newspapers in the UK. These cartoon strips were subsequently collected together and published in book form, by Piccolo Books, in paperback. 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 #dadsarmy   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 affil

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

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's 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

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   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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 theatres 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 cancelled 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 Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – 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 Centre 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.   
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