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During the Phenology Report for the week of April 1, 2025, Staff Phenologist John Latimer covers the emergence of black bears, a remarkable night of owls, eagles and auroras, and a delightful new method of measuring spring phenology.
This week, author Sash Bischoff discusses her hit debut novel Sweet Fury, a twisty, thought-provoking novel in conversation with the works of F. Scott Fitzgerald. Bischoff is interviewed by author Kathleen Rooney. This conversation originally took place February 12, 2025 and was recorded live at the American Writers Museum.We hope you enjoy entering the Mind of a Writer.AWM PODCAST NETWORK HOMEAbout Sweet Fury:When a beloved actress is cast in a feminist adaptation of a Fitzgerald classic, she finds herself the victim in a deadly game of revenge in which everyone, on screen and off, is playing a part."Cunningly ambitious, twisty, and immersive, it seduces you into a story so compelling that you aren't ready for the sucker-punch of its deeper truths. This is a hell of a debut." —Rebecca MakkaiLila Crayne is America's sweetheart: she's generous and kind, gorgeous and magnetic. She and her fiancé, visionary filmmaker Kurt Royall, have settled into a stunning new West Village apartment and are set to begin filming their feminist adaptation of Fitzgerald's Tender Is the Night.To prepare for the leading role, Lila begins working with charming and accomplished therapist Jonah Gabriel to dig into the trauma of her past. Soon, Lila's impeccably manicured life begins to unravel on the therapy couch—and Jonah is just the man to pick up the pieces. But everyone has a secret, and no one is quite who they seem.A twisty, thought-provoking novel of construction and deconstruction in conversation with the works of F. Scott Fitzgerald and told through the lens of the film industry, Sweet Fury is an incisive and bold critique of America's deep-rooted misogyny. With this novel, Bischoff examines the narratives we tell ourselves, and what happens when we co-opt others into those stories; and she probes the blurred lines between victim and perpetrator and the true meaning of justice.SASH BISCHOFF is a writer and theater director. She has written plays that have been developed at theaters throughout the US. As a director, she has worked on Broadway and off. Broadway/National Tours include Dear Evan Hansen, The Visit, On the Town, How to Succeed in Business Without Really Trying, and Shrek. Sash grew up as an actor and won the National Arts Award (NFAA) for Acting. She currently lives in New York with her husband and their many pets. Sweet Fury is her first novel.KATHLEEN ROONEY is a founding editor of Rose Metal Press, a nonprofit publisher of literary work in hybrid genres, as well as a founding member of Poems While You Wait, a collective of poets and their vintage typewriters who compose poetry on demand. Her most recent books include the novels Lillian Boxfish Takes a Walk and Cher Ami and Major Whittlesey. Her poetry collection Where Are the Snows won the 2021 X. J. Kennedy Prize and was published by Texas Review Press in fall of 2022. She is a winner of the Ruth Lilly Prize from Poetry magazine and the Adam Morgan Literary Citizen Award from the Chicago Review of Books, and her criticism appears in the New York Times, the Minneapolis Star Tribune, the Brooklyn Rail, Chicago magazine, the Los Angeles Review of Books, and elsewhere. She lives in Chicago with her spouse, the writer Martin Seay, and teaches English and creative writing at DePaul University.
Prize indemnity insurance might sound like a dry financial topic, but Robin Lang from Tokio Marine HCC reveals it's actually one of the most exciting marketing tools available to jewelers today. We discuss how retailers can offer customers full refunds on purchases if certain events occur – like six inches of snow on New Year's Day, or a Safety during the Super Bowl – while paying just a fraction of the potential cost themselves.Robin walks us through the mechanics of these promotions, explaining how her team of actuaries analyzes decades of historical data to calculate the odds of specific weather events or sports outcomes.Learn more about Prize Indemnity with Tokio Marine HCC: https://www.tmhcc.com/en-us/products/contingency/prize-indemnitySend us a text Send feedback or learn more about the podcast: punchmark.com/loupe Learn about Punchmark's website platform: punchmark.com Inquire about sponsoring In the Loupe and showcase your business on our next episode: podcast@punchmark.com
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It's different for every author... but there has to be an average, right? Seriously, how long does it take most authors to write a novel?Featuring, from Engen Books Ltd.: Shannon K Green, author of The Snows of Aetalus Dr. Lisa M Daly, author of Their Sturdy PrideMatthew Daniels, author of InterstichesNicole Little, author of Roxy Buckles and the Flight of the SparrowFrom Harper-Collins Canada,Charlene Carr, author of Hold My Girl and We Rip The World ApartFrom Running the Goat,Susan Flanagan, author of The Degrees of Barry LickAlso featuring indie artists like: Nicole Smith, Travis House(less) Poet, and more!Originally broadcast on March 24, 2025 on CHMR 93.5 FM in St. John's, and on other great stations across the country. Check out As Loved Our Fathers, the latest book from Write Project host Matthew LeDrew: https://amzn.to/3HB7BABIt's a hunt for the Holy Grail taken on by an American Anthropologist and a Newfoundland History professor that unveils hidden secrets within Newfoundland history! Support the showProduced and recorded at CHMR 93.5 FM in St. John's, Newfoundland. Listen on CHMR online at http://www.chmr.ca/This program is sponsored by:Engen Books: Checkout Engen titles at http://www.engenbooks.com/Or sign up for their newsletters at: The Write Project signup for FREE book: http://eepurl.com/c8W9OTEngen Horror Society Signup for FREE book: http://eepurl.com/c8YemrFantasy Files signup for FREE book: http://eepurl.com/c8X4zLEngen's Science-Fiction Newsletter for FREE book: http://eepurl.com/ir5JmgThis recording copyright © 2024 Matthew LeDrew
We linked up with the K-State Ducks Unlimited chapter to chase snow geese, talk college hunting life, and figure out how to balance midterms, scouting, and a DU chapter—all while having the itch to get outdoors. From breaking down why the conservation season matters to looking ahead at careers in the outdoor industry, this episode is about more than just hunting—it's about the people, the passion, and the never-ending chase that keeps us coming back.
Claudia McAdam re-joins the Joes to tell the story of Our Lady of the Snows and the building of the Church of Santa Maria Maggiore... it's all captured in her new children's book: "The Miracle of the August Snow". Claudia McAdam Download the Veritas app Joe & Joe on X Joe & Joe on YouTube
Have you heard about King Boreas and his enemy, Vulcanus Rex? How about the Queen of Snows? No, it's not a religion. Not yet, anyway. It's the Saint Paul Winter Carnival, and Jimmy is trying to convince Tom to be part of it. Jimmy can't do it himself because he's got a daughter in dance. If you also have or had a daughter in dance, you know exactly what I'm talking about. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Creepypasta Scary Story
This week on the Magazine we celebrate the arrival of winter. Here in Eastern Pennsylvania it's as cold and snowy as an old-fashioned winter. Our theme music is Cold Frosty Morning and we'll share two renditions of that old-time tune. Expect tunes and songs from Kieran Kane and Rayna Gellert, Tony Trischka, Atwater Donnelly, Kenny Jackson and more. Enjoy Cold Frosty Mornings .… this week on the Sing Out! Radio Magazine.Pete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways Katie LaRay Waldren / “Cold Frosty Morning” / Cold Frosty Morning / Native GroundKieran Kane & Rayna Gellert / “Cold Air” / Ledges / Dead ReckoningGordon Lightfoot / “Song for a Winter's Night” / The Way I Feel / United ArtistsPierce Pettis / “In the Bleak Midwinter” / Winter Solstice III / Windham HillThe Early Mays / “Narrows of the Year” / Chase the Sun / Bird on the WingHonor Finnegan / “Snow Day” / Just One Angel v2.0 / Yellow TailSocial Band / “When the Snows of Winter Fall” / Deep Midwinter / Self-releasedFred Gosbee / “The Night the Whiskey Froze” / The Night the Whiskey Froze / CastlebayTony Trischka / “Sleigh Ride” / Glory Shone Around / RounderAtwater Donnelly / “Cold Frosty Morning-Growling Old Man Growling Old Woman” / When Winter Calls / Rabbit IslandHerdman-Hills-Mangsen / “More Wood” / Voices of Winter / GadflyHerdman-Hills-Mangsen / “Solstice Round” / At the Turning of the Year / Hand & HeartKenny Jackson / “The Shortest Day-Set the Log Alight” / The Shortest Day / Crow HillJohn Reischman & the Jaybirds / “While Roving on a Winter's Night” / On a Winter's Night / CorvusSilent Winters / “Winter Wonderland” / Christmas Morning / Fallen TreeReid Jamieson / The Coldest Night of the Year” / Songs for a Winter's Night / Self ProducedPete Seeger / “If I Had A Hammer”(excerpt) / Songs of Hope and Struggle / Smithsonian Folkways
Defense begat offense Sunday afternoon, as Purdue overwhelmed the toothless 'Cats
Happy holidays from One True Podcast, and it wouldn't be the holiday season without Suzanne del Gizzo—the celebrated editor of The Hemingway Review—here to discuss another one of Hemingway's seasonally appropriate works. In previous years, we have talked together about “God Rest You Merry, Gentlemen,” “Christmas on the Roof of the World,” “The Christmas Gift,” and “A North of Italy Christmas.” This year, we explore “The Blind Man's Christmas Eve,” an article Hemingway wrote for The Toronto Star in December 1923.With Suzanne, we place the story in its historical and biographical contexts, delve into the relationship between the main character and the curious narrative perspective, examine how physical and metaphorical blindness works in the story, and connect the story to other Hemingway works such as “The Snows of Kilimanjaro," "A Clean, Well-Lighted Place," "Get a Seeing-Eyed Dog," and Islands in the Stream. We also think about the importance of the song “My Old Kentucky Home,” which the main character hears an Italian organ grinder play. As a special gift to our listeners, we begin the episode with a reading of “The Blind Man's Christmas Eve” by former guest Mackenzie Astin, star of The Facts of Life, The Magicians, and In Love and War, where he played the young Henry Villard opposite Chris O'Donnell's Hemingway and Sandra Bullock's Agnes von Kurowsky. We also end the episode with another treat--a moving rendition of "My Old Kentucky Home" by Hemingway scholar Michael Kim Roos, who appeared as a guest on one of our previous shows on A Farewell to Arms.Thanks for another great year, everybody. Enjoy!
Holiday traditions. All of us have them. In this episode, hosts George Mahe and Cheryl Baehr dive into a few holiday essentials for St. Louisans—the dishes, the drinks, the places, and the feel good stuff we look forward to experiencing every year. Get the dish on classic traditions including: Where to find the best baked goods in town—for gifting, or indulging yourself The most festive spots in St. Louis to soak up the holiday spirit Classic Christmas Eve dinner options The coziest fireplaces for warming up on chilly nights Why fruitcake deserves a second chance … and plenty more seasonal delights! Tune in and get ready for some memorable—and delicious—holiday fun! Listen and follow Arch Eats on Apple Podcasts, Spotify, YouTube, or wherever podcasts are available. This episode is sponsored by Gateway Arch Park Foundation and supported by St. Louis Symphony Orchestra . Winterfest, presented by Bank of America and World Wide Technology, is open downtown through December 31. Experience ice skating, s’mores, igloos, food and drinks, and more. Learn more. Have an idea for a future Arch Eats episode? Send your thoughts or feedback by emailing podcasts@stlmag.com. Hungry for more? Subscribe to our Dining newsletters for the freshest coverage on the local restaurant and culinary scene. And follow George (@georgemahe) and SLM on Instagram (@stlouismag). Interested in being a podcast sponsor? Contact Lauren Leppert at lleppert@stlmag.com. Mentioned in this episode: Clementine’s Ice Cream: Multiple locations. Missouri Baking Co.: 2027 Edwards, The Hill, 314-773-6566. Anheuser-Busch Brewery Lights: 1200 Lynch, Soulard, 314-577-2626. Grant’s Farm: 10501 Gravois, Grantwood Village, 314-843-1700. Sam’s Steakhouse: 10205 Gravois, Grantwood Village, 314-849-3033. Our Lady of the Snows: 442 S DeMazenod, Belleville, 618-397-6700. BEAST Craft BBQ: 20 South Belt West, Belleville, 618-257-9000. Tavern on Main: 301 East Main, Belleville, 618-233-6246. Grüv Wine Bar & Bistro: 223 E Main, Belleville, 618-416-2471. Candy Cane Lane: 6500 Block of Murdoch Avenue, St. Louis Hills. holidaylighthopping.com Ted Drewes: Multiple locations, 314-481-2652. Peno (Feast of Seven Fishes dinner): 7600 Wydown, Clayton, 314-899-9699. Bolyard’s Meat and Provisions: 2733 Sutton, Maplewood, 314-647-2567. Kenrick’s Meats and Catering: 4324 Weber, Affton, 314-631-2440. Yen Ching: 1012 S. Brentwood, Richmond Heights, 314-569-3463. The Cheshire: 6300 Clayton, Richmond Heights, 314-647-7300. Basso: 7036 Clayton, Richmond Heights, 314-932-7820. Fox & Hounds: 6300 Clayton, Richmond Heights, 314-647-7300. Cyrano’s Café: 603 East Lockwood, Webster Groves, 314-963-3232. Tucker’s Place: Multiple locations. Del Pietro’s: 1059 South Big Bend, Richmond Heights 314-224-5225. SqWires: 1415 S 18th, Lafayette Square, 314-865-3522. Sasha’s: Multiple locations. Edera: 48 Maryland Plaza, Central West End, 314-361-7227. Assumption Abbey: 2860 State Highway OO, Ava, Missouri, 417-683-5110. Collin Street Bakery (Texas): Multiple locations, 800-267-4657. toogoodtogo.com You may also enjoy these SLM articles: Over 25 holiday pop-up bars in St. Louis STL restaurants with fireplaces Where to order Christmas and Christmas Eve dinner in St. Louis More episode of Arch Eats See omnystudio.com/listener for privacy information.
Welcome to the sixteenth of our eighteen shows celebrating the centenary of the Paris edition of Hemingway's book of vignettes, in our time.In this episode, Maera is gored and dies in a masterfully cinematic way. We explore Hemingway's description of the bullfighter's death and speculate about why Hemingway decided to kill off his character "Maera" when the real bullfighter was still alive when in our time was published. We also draw comparisons between this vignette and other Hemingway works like "A Banal Story" and "The Snows of Kilimanjaro," and consider its important placement in the later short story sequence of 1925.Join us as we explore in our time before it became In Our Time!
Another episode of Doctor Who gets the deep dive treatment. This one again has no William Hartnell action whatsoever, and features a scene that would be unliklely to make it into a modern iteration of the show. Its main guest star gets the biographical treatment, as does an actor who appears at the bottom of the credits in this single instalment and never again in Doctor Who despite having several personal connections to the series. So warm yourselves up for this by rubbing your thighs and settle in front of a fire to get the cold, hard facts about The Snows of Terror... #doctorwho #doctorwhoreaction #doctorwhocommentary #doctorwhocomedian #tobyhadoke #doctorwhofacts #positivedoctorwho #classicdoctorwho Please support these podcasts on Patreon, where you will get advance releases, exclusive content (including a patron-only podcast - Far Too Much Information), regular AMAs and more. Tiers start from as little as £3 per month: patreon.com/tobyhadoke Or there is Ko-fi for the occasional donation with no commitments: ko-fi.com/tobyhadoke Follow Toby on Twitter: @tobyhadoke And these podcasts: @HadokePodcasts And his comedy club: @xsmalarkey www.tobyhadoke.com for news, blog, mailing list and more.
A Hamster With a Blunt Penknife - a Doctor Who Commentary podcast
'All right, I'm in no hurry. There's no one coming to help you. I can wait...' Joe, Dylan & Luke get decidedly chilly as they face the evil molester and monster Vasor and Ice Guards as they traverse the Snows of Terror...
It's SUNDAY! Snows on the ground and the showcase will keep you warm with Sonic Society #835, Tales from the Mutual Basement- Moist, and Project Audion Episode 61- Johnny Dollar- The Damianai Diamond Matter! Learn more about your ad choices. Visit megaphone.fm/adchoices
It's SUNDAY! Snows on the ground and the showcase will keep you warm with Sonic Society #835, Tales from the Mutual Basement- Moist, and Project Audion Episode 61- Johnny Dollar- The Damianai Diamond Matter! Learn more about your ad choices. Visit megaphone.fm/adchoices
For this web exclusive episode of ‘The Write Question,' host Lauren Korn speaks with poet Carl Phillips, author of ‘Scattered Snows, to the North,' and the Pulitzer Prize-winning ‘Then the War and Selected Poems, 2007-2020' (Farrar, Straus and Giroux), in advance of his appearance at the Missoula Art Museum on November 6, 2024.
For this web exclusive episode of ‘The Write Question,' host Lauren Korn speaks with poet Carl Phillips, author of ‘Scattered Snows, to the North,' and the Pulitzer Prize-winning ‘Then the War and Selected Poems, 2007-2020' (Farrar, Straus and Giroux), in advance of his appearance at the Missoula Art Museum on November 6, 2024.
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 fe2f4df62ffeeb8c30c04d3d3454779ca91a4871
Javier Fuentes, the 2024 PEN/Hemingway winner for Countries of Origin, shares his one true sentence from "The Snows of Kilimanjaro."
Dr. Tom Curran reflects on the Feasts of Our Lady of the Snows, St. Dominic, Transfiguration and more! Tom reflects on witnessing the profession of perpetual vows to the consecrated life of religious sisters.
Friends of the Rosary, This Monday, on the feast of Our Lady of the Snows, we mediated upon the grace that the Mother of God distributes to the Church. "Just like a midsummer snowfall in Rome, grace arouses marvel and amazement. Let us not forget these two words. We cannot lose the ability to marvel and be amazed, as they are part of our faith experience," said Pope Francis during the mass celebration at the Basilica of St. Mary Major in Rome. This miraculous midsummer snowfall that occurred in the year 358 was represented by the traditional shower of white rose petals that fell from the ceiling of the Basilica of St. Mary Major. In his contemplation of the gem of the basilica—the ancient icon of Salus Populi Romani (Our Lady Savior of the People)—the pope said the miracle of the snow symbolizes Mary, the only woman created who is full of grace, conceived without original sin, and immaculate. Grace is essential in our faith journey. We are invited to keep a sense of wonder in the action of the Holy Spirit in our lives. Ave Maria!Jesus, I Trust In You! Come, Holy Spirit, come! To Jesus through Mary! + Mikel Amigot | RosaryNetwork.com, New York • August 7, 2024, Today's Rosary on YouTube | Daily broadcast at 7:30 pm ET
8/7/24 - Snow rarely falls in Rome, but that's exactly what happened one fateful night in August of 352 AD. But why? As the locals marveled at the miracle the following morning, they realized what they must do: construct a church at the site in Mary's honor, as previously requested. Some 1,500 years later, that church, now known as The Basilica of Saint Mary Major, still stands proudly in honor of Our Lady of Snows, one of the oldest Marian devotions. Join us today as we share the story!
8/7/24 6am CT Hour - Ashley Noronha/ Will Heller John, Glen and Sarah chat about Kamala Harris' VP pick Tim Walz, Team USA in Olympics and back to school shopping for kids. Ashley reports on the Pope's recent message, the Feast of Our Lady of the Snows, vacation time in Italy, Sicilian celebration for the Transfiguration and feast of St. Lawrence. Will talks about his journey into weightlifting, answering the call to the priesthood and the crossover between the two.
Happy Birthday, Papa. We love and miss you dearly.
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Today is Monday, August 5, 2024, The feast of The Dedication of Our Lady of the Snows, a 3rd class feast, with the color of white. In this episode: The meditation: “The Reward Given to the Centurion,” a preview of the Sermon: “Seek Ye First the Kingdom of God,” and today's thought from the Archbishop. We'd love your feedback on these Daily Devotionals! What do you like / not like, and what would you like us to add? podcast@sspx.org Sources Used Today: Practical Meditations (Angelus Press) “The Catholic Mass #3: Liturgy Explained – Part 1" (SSPX Podcast) View on YouTube Listen & Subscribe on SSPXpodcast.com The Spiritual Life- Archbishop Lefebvre (Angelus Press) - - - - - - - Please Support this Apostolate with 1-time or Monthly Donation >> - - - - - - - Explore more: Subscribe to the email version of this Devotional - it's a perfect companion! Subscribe to this Podcast to receive this and all our audio episodes Subscribe to the SSPX YouTube channel for video versions of our podcast series and Sermons FSSPX News Website: https://fsspx.news Visit the US District website: https://sspx.org/ - - - - - What is the SSPX Podcast? The SSPX Podcast is produced by Angelus Press, which has as its mission the fortification of traditional Catholics so that they can defend the Faith, and reaching out to those who have not yet found Tradition. - - - - - - What is the SSPX? The main goal of the Society of Saint Pius X is to preserve the Catholic Faith in its fullness and purity, to teach its truths, and to diffuse its virtues, especially through the Roman Catholic priesthood. Authentic spiritual life, the sacraments, and the traditional liturgy are its primary means of bringing this life of grace to souls. Although the traditional Latin Mass is the most visible and public expression of the work of the Society, we are committed to defending Catholic Tradition in its entirety: all of Catholic doctrine and morals as the Church has always defended them. What people need is the Catholic Faith, without compromise, with all the truth and beauty which accompanies it. https://sspx.org
Hour 1 for 8/5/24 Drew gave a roundup of news of the day (:45). Then, Retired Lt. Col. Dakota Wood broke down the Israel-Iran conflict (13:56). Then, Dr. Bill Donohue joined Drew to discuss his new book Cultural Meltdown (28:53). Finally, Drew tells the amazing story of Our Lady of the Snows (44:36).
Full Text of ReadingsMonday of the Eighteenth Week in Ordinary Time Lectionary: 407The Saint of the day is Dedication of Saint Mary Major BasilicaThe Story of the Dedication of Saint Mary Major Basilica First raised at the order of Pope Liberius in the mid-fourth century, the Liberian basilica was rebuilt by Pope Sixtus III shortly after the Council of Ephesus affirmed Mary's title as Mother of God in 431. Rededicated at that time to the Mother of God, St. Mary Major is the largest church in the world honoring God through Mary. Standing atop one of Rome's seven hills, the Esquiline, it has survived many restorations without losing its character as an early Roman basilica. Its interior retains three naves divided by colonnades in the style of Constantine's era. Fifth-century mosaics on its walls testify to its antiquity. St. Mary Major is one of the four Roman basilicas known as patriarchal churches in memory of the first centers of the Church. St. John Lateran represents Rome, the See of Peter; St. Paul Outside the Walls, the See of Alexandria, allegedly the see presided over by Mark; St. Peter's, the See of Constantinople; and St. Mary's, the See of Antioch, where Mary is supposed to have spent most of her later life. One legend, unreported before the year 1000, gives another name to this feast: Our Lady of the Snows. According to that story, a wealthy Roman couple pledged their fortune to the Mother of God. In affirmation, she produced a miraculous summer snowfall and told them to build a church on the site. The legend was long celebrated by releasing a shower of white rose petals from the basilica's dome every August 5. Reflection Theological debate over Christ's nature as God and man reached fever pitch in Constantinople in the early fifth century. The chaplain of Bishop Nestorius began preaching against the title Theotokos, “Mother of God,” insisting that the Virgin was mother only of the human Jesus. Nestorius agreed, decreeing that Mary would henceforth be named “Mother of Christ” in his see. The people of Constantinople virtually revolted against their bishop's refutation of a cherished belief. When the Council of Ephesus refuted Nestorius, believers took to the streets, enthusiastically chanting, “Theotokos! Theotokos!” Saint of the Day, Copyright Franciscan Media
Pope Francis has appointed Bishop Richard Henning as the Archbishop of Boston, as Archbishop Cardinal Sean O'Malley is retiring. The Knights of Columbus are meeting in Quebec for their 142nd Supreme Convention. And, today the faithful of Rome commemorate the solemnity of Our Lady of the Snows at St. Mary Major.
Friends of the Rosary, Today, we commemorate the Optional Memorial of the Dedication of the Basilica of St. Mary Major, one of Rome's four most illustrious churches and Christendom's first Marian shrine for pilgrims. There are four great Roman basilicas, the mother churches, in Christendom: St. John Lateran, St. Peter, St. Paul Outside the Walls, and St. Mary Major. This feast commemorates the miracle of the snowfall that occurred on the night of August 5, 358. The Virgin Mary appeared in a dream to two faithful Roman Christians, the patrician John, his wife, and Pope Liberius. She asked that a church be built in her honor on the site where snow would fall on August 5. The basilica, also known as Our Lady of Snows, was completed about a century later by Pope Sixtus III after the Council of Ephesus in 431, during which Mary was declared to be the Mother of God, the Theotokos Marian doctrine. Every year, during Mass, the traditional shower of flower petals descends from the basilica ceiling to commemorate the August snowfall in 358. Ave Maria!Jesus, I Trust In You! Come, Holy Spirit, come! To Jesus through Mary! + Mikel Amigot | RosaryNetwork.com, New York
27 And it came to pass, as he spoke these things, a certain woman from the crowd, lifting up her voice, said to him: Blessed is the womb that bore thee, and the paps that gave thee suck.Factum est autem, cum haec diceret : extollens vocem quaedam mulier de turba dixit illi : Beatus venter qui te portavit, et ubera quae suxisti. 28 But he said: Yea rather, blessed are they who hear the word of God, and keep it.At ille dixit : Quinimmo beati, qui audiunt verbum Dei et custodiunt illud. This Basilica of our Lady of the Snows, also called St Mary Major, was built on the esquiline at Rome by St Liberius, Pope from 352 to 366. Popular tradition sites that the site was traced out by a miraculous fall of snow on this date, which is that of the Feast of the Church's dedication.
Happy feast of Our Lady of the Snows! On today's show, Matt Swaim and Anna Mitchell welcome Mike Aquilina to talk about the history of St. Mary Major in Rome and how it came to be built. Other guests include Bear Woznick on having the courage to speak truth even in uncomfortable situations, and Kevin Schmiesing with This Week in Catholic History. Plus all the latest news, weather, sports, and a whole lot more...
Between The Covers : Conversations with Writers in Fiction, Nonfiction & Poetry
Today's guest is one of the most singular and celebrated Anglophone poets writing today, Carl Phillips. We center his latest collection, Scattered Snows, to the North, his first since winning the 2023 Pulitzer prize in poetry. But we also use his three craft books written over the decades (in 2004, 2014 and 2023 respectively) to […] The post Carl Phillips : Scattered Snows, to the North appeared first on Tin House.
Former Giants 1st baseman JT Snow joins Tom Tolbert & Adam Copeland and says the Giants season has been a failure See omnystudio.com/listener for privacy information.
Former Giants 1st baseman JT Snow joins Tom Tolbert & Adam Copeland and says the Giants season has been a failure See omnystudio.com/listener for privacy information.
Notes and Links to Kathleen Rooney's Work For Episode 243, Pete welcomes Kathleen Rooney, and the two discuss, among other topics, her childhood love of story and her later connections to Chicago and Chicagoland, her devotion to words and sentences and poetry, her fascination with Colleen Moore and her Fairy Castle, seeds for From Dust to Stardust, and salient themes and issues in her book like stereotyping, early Hollywood, the burdens carried by young women and all women in Hollywood, and the power of cinema. Kathleen Rooney is a founding editor of Rose Metal Press, a nonprofit publisher of literary work in hybrid genres, and a founding member of Poems While You Wait, a team of poets and their typewriters who compose commissioned poetry on demand. She is the author of the novels Lillian Boxfish Takes a Walk and Cher Ami and Major Whittlesey, and her latest poetry collection Where Are the Snows, winner of the XJ Kennedy Prize, was released in Fall of 2022 by Texas Review Press. Her latest novel, From Dust to Stardust, came out in September 2023. She lives in Chicago and teaches at DePaul. Buy From Dust to Stardust Kathleen's DePaul University Bio “Checking out Historical Chicago: Kathleen Rooney's From Dust to Stardust” From Chicago Review of Books At about 2:00, Kathlen talks about her early years in various parts of the country and her love of cities At about 3:35, Kathleen talks about her great love of the written word, and always wanting to “tell stories” At about 5:30, Kathleen gives background on Chicagoland At about 8:10, Various parts of IL and connections to David Foster Wallace are discussed At about 9:30, Kathleen discusses formative writers, including “classic” poetry and how she is “attracted to words” At about 14:00, Kathleen cites music influences like Bob Dylan, a “fellow word pervert” and B96 in Chicago and 90s hip hop At about 15:50, Kathleen talks about how her Irish heritage has influenced her writing, and how her protagonist was limited by Irish tropes At about 18:00, Kathleen gives some background on “thin places” from Gaelic yore, its connections to the book's epigraph, and some plot summary/exposition for the book At about 22:15, Kathleen builds on earlier discussion of the early history of Hollywood and various locations for shooting movies, after Pete and she reflect on the beautiful Cinema Paradiso and ideas of the magic of cinema At about 24:05, Kathleen details her interest in Colleen Moore, and also gives seeds for the book At about 26:15, Kathleen describes Chicago's incredible Fairy Castle of Colleen Moore At about 28:20, Pete and Kathleen talk about other vanity/aspirational projects of the 1920s and on, Hearst, etc. At about 29:20, Pete gives background on the book's main character's, Eileen's, early fascination with movies At about 30:15, Kathleen outlines the Eileen's family and various backstories and influences on Eileen At about 32:50, Pete asks Kathleen about her book's structure-flashbacks and flashforward, and how the memories are narrated/formatted At about 36:50, Kathleen remarks on how she used flashbacks a little differently than some other popular movies At about 37:45, Pivotal early scenes that lead Eileen to Hollywood are recounted, and Kathleen expands on the insular environment of early Holywood At about 41:00, The two discuss the infamous D.W. Griffith and his connections to the book At about 42:00, Kathleen discusses the ways in which casting and life affect women, especially young women, and their choices At about 44:40, Kathleen talks about the various iterations of A Star is Born and its significance in Hollywood history At about 46:00, Marion Davies and her unfair/incomplete reputation are explained At about 47:30, Pete notes the ways in which Doreen is her own biggest fan and supporter and her agency and hard work At about 48:40, Kathleen shares her connections to Edna Ferber, the real-life writer referenced in the book At about 51:30, Kathleen responds to Pete's questions about typecasting in early Hollywood, and what research Kathleen used for the parts of the silent film era At about 54:30, Pete wonders about redemptive actions and motives for Eileen's father and his help with the Fairy Castle At about 57:20, Kathleen shouts out a few Chicagoland bookstores and other places to buy her book, and also gives social media//contact info At about 58:25, Kathleen talks about the magic of Poems While You Wait You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode. I am very excited about having one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review-I'm looking forward to the partnership! Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 244 with Alexandra Alessandri. She is the author of several books for children, including Isabel and Her Colores Go to School (2021), and Grow Up, Luchy Zapata (2024), a Junior Library Guild Gold Standard Selection; her books have received numerous distinctions, including the International Latino Book Award The episode will go live on July 23. Lastly, please go to https://ceasefiretoday.com/, which features 10+ actions to help bring about Ceasefire in Gaza.
Notes and Links to Santiago José Sanchez's Work For Episode 242, Pete welcomes Santiago José Sanchez, and the two discuss, among other topics, their childhood in Colombia and Miami, their experiences with bilingualism, formative and transformative reading, especially in his college years, how teaching informs their writing and vice versa, the wonderful multiple points of view in Hombrecito, salient themes in his collection like masculinity, immigration, queerness, familial ties, reinvention and Americanization, and ideas of home. Santiago José Sánchez, a Grinnell College assistant professor of English and a graduate of the Iowa Writers' Workshop, is a queer Colombian American writer. Santiago's writing has appeared in McSweeney's, ZYZZYVA, Subtropics, and Joyland and been distinguished in Best American Short Stories. They are the recipient of a Truman Capote Fellowship from the University of Iowa and an Emerging LGBTQ Voices Fellowship from Lambda Literary. Their debut novel is Hombrecito, out as of June 25. Buy Hombrecito Santiago's Website New York Times Review of Hombrecito At about 2:35, Santiago talks about their early relationship with the written word, and their early fascination with and exposure to storytelling At about 4:55, Santiago expounds upon how Hombrecito is a “love letter” to their mom, and their special relationship with her At about 6:00, Santiago speaks to the interplay between English and Spanish in their life and in their writing At about 9:15, Santiago talks about Colombian Spanish and its uniqueness At about 11:20, Santiago highlights books and writers (like Greenwell's Mitko) and a class with Professor Michael Cunningham that grew their huge love of writing and literature At about 13:25, Santiago discusses ideas of representation, including works by Justin Torres, that made them feel seen, but also gaps in representation At about 14:40, Santiago cites Small Rain by Greenwell, Ocean Vuong's new book, Ruben Reyes, Jr.'s There is a Rio Grande in Heaven, and Melissa Mogollon's Oye as exciting and inspiring At about 16:05, Santiago responds to Pete's question about how writing informs their teaching At about 18:30, Pete and Santiago rave about Jamil Jan Kochai's “Playing Metal Gear Solid V: The Phantom Pain” and Santiago talks about their students loving the story At about 22:45, Santiago gives background on using different points-of-view and terminology for the narrator(s) in Hombrecito At about 26:40, Santiago describes the book as “autofiction” At about 28:10, “He lives between the world and his own mind,” a key quote from the beginning of the book, and the narrator's mother, are explored through a discussion of an early pivotal scene, which also bring talk of a certain type of sexism/misogyny directed at single mothers At about 32:15, Santiago explains the ways in which they use and views the term “queer” At about 34:10, Pete gives a little exposition of the book, featuring a scene where the book's title is first introduced-Santiago expands on the book's title and its myriad significance At about 38:10, An understated scene that ends Part I is discussed; Santiago describes their mindset in writing the scene in that way At about 40:55, The two explore the narrator's insistence on calling his mother “Doctora” upon their move to Miami At about 43:10, Santiago gives an explanation of the book's oft-referenced “portal” At about 46:00, The last scene where the narrator is “Santiago” and an important transition, is looked at At about 46:50, The two reflect upon ideas of Americanization, and a supposedly-perfect/”normative” family dynamic that Santiago and their mother seek out At about 53:25, Santiago's mother and brother and their circumstances early in their time in Miami is discussed-Santiago details the “reshaping” of the family's situation At about 56:05, Pete asks Santiago about the narrator's first lover and what repelled and brought them back together so many times At about 59:35, Santiago explains how the book is “a lot about silences” and focuses on the short and incredibly-powerful Chapter 11 At about 1:01:45, Pete cites the previously-mentioned meaningful and resonant flashback At about 1:02:50, The book's last section and its focus on the narrator and his father's ever-evolving, ever-loving relationship is discussed At about 1:06:00, Santiago shares some of the feedback they have received since the book has been released, as well as information on their upcoming tour At about 1:10:35, Santiago reads an excerpt from the book that forces the reader to salivate and smile At about 1:12:45, Pete tells a story about translation gone wrong for the fourth or fifth time-eek! You can now subscribe to the podcast on Apple Podcasts, and leave me a five-star review. You can also ask for the podcast by name using Alexa, and find the pod on Stitcher, Spotify, and on Amazon Music. Follow me on IG, where I'm @chillsatwillpodcast, or on Twitter, where I'm @chillsatwillpo1. You can watch this and other episodes on YouTube-watch and subscribe to The Chills at Will Podcast Channel. Please subscribe to both my YouTube Channel and my podcast while you're checking out this episode. I am very excited about having one or two podcast episodes per month featured on the website of Chicago Review of Books. The audio will be posted, along with a written interview culled from the audio. A big thanks to Rachel León and Michael Welch at Chicago Review-I'm looking forward to the partnership! Sign up now for The Chills at Will Podcast Patreon: it can be found at patreon.com/chillsatwillpodcastpeterriehl Check out the page that describes the benefits of a Patreon membership, including cool swag and bonus episodes. Thanks in advance for supporting my one-man show, my DIY podcast and my extensive reading, research, editing, and promoting to keep this independent podcast pumping out high-quality content! This is a passion project of mine, a DIY operation, and I'd love for your help in promoting what I'm convinced is a unique and spirited look at an often-ignored art form. The intro song for The Chills at Will Podcast is “Wind Down” (Instrumental Version), and the other song played on this episode was “Hoops” (Instrumental)” by Matt Weidauer, and both songs are used through ArchesAudio.com. Please tune in for Episode 243 with Kathleen Rooney, who is founding editor of Rose Metal Press and a founding member of Poems While You Wait. She teaches English and creative writing at DePaul University and is the author, most recently, of the novel From Dust to Stardust, as well as the poetry collection Where Are the Snows. The episode will go live on July 16. Lastly, please go to https://ceasefiretoday.com/, which features 10+ actions to help bring about Ceasefire in Gaza.
Aaron and Dave return for Season Six of My Bad Poetry without the Wolf Journal to guide their discussions. So they bring in more friends! Phil Goldstein brings his Jr. High and High School works salvaged from an old computer. We talk about HAD Skulls, favorite seasons, sneaky rhymes, and old loves we would never ever forget (expect when their name now escapes us). #WeBelievein9thGradePhil. My Bad Poetry Episode 6.1 "Popular, Snows of Tears, & Autumn's Vow (w/Phil Goldstein)" End Poem from a Real Poet: "An Alphabet of Longing" by Phil Goldstein Podcast Email: mybadpoetry.thepodcast@gmail.com Bluesky: @mybadpoetrythepod.bsky.social Instagram & Threads: @MyBadPoetry_ThePod Website: https://www.mybadpoetry.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/mybadpoetry/message
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Values Course “Sync Up: Aligning Values & Vision For Lasting Love” now available! Get registered here: https://stan.store/masteryourmarriage/p/in-sync-together-aligning-values--vision"Empathy can heal, deescalate conflict, and prevent resentments."In this episode, Robert and Sharla Snow discuss the importance of empathy in difficult situations within a marriage. They explore three challenging situations: dealing with harsh words, when a spouse isn't open and vulnerable, and hearing the word 'no'. They emphasize the need to practice empathy, even when it's difficult, and provide strategies for understanding and connecting with the feelings and needs of your partner. The episode highlights the detrimental effects of harsh startups and the importance of repair attempts. Overall, the Snows stress the significance of empathy in maintaining a healthy and flourishing relationship.TakeawaysEmpathy is crucial in difficult situations within a marriage.Harsh startups can escalate conflicts and lead to negativity and divorce.Repair attempts and a 5:1 positivity-to-negativity ratio are essential for maintaining a healthy relationship.When a spouse isn't open and vulnerable, inferential listening and confirming assumptions can help understand their feelings and needs.Hearing 'no' compassionately involves recognizing the feelings and needs behind the response and finding solutions that honor both partners' needs.Chapters00:00 The Power of Empathy in Difficult Situations08:00 Repair Attempts and the 5:1 Positivity Ratio21:49 Compassionate Responses to Hearing 'No'
This week Joey and Cal talk about why hunters from Mn get so much push back from landowners around the Midwest and what gives us a bad name. “Blue Platers” need a new reputation. We also talk about SD Snows and Joey and Carters recent trip with our buddy Jake Wightman. We draft our best post hunt routines and debate belly up vs. belly down pile pictures. Let us know if you've got a debate topic for us by sending us a message on Instagram. Thanks for following along and leave us a review! New Waterfowl Film out now! 143 Birds in Canada! Heirloom Goods for generations to come: RW Coolidge Go to OnXHunt to be better prepared for your hunt: OnX Learn more about better ammo: Migra Ammunitions Stop saying "Huh?" with better hearing protection: Soundgear Stay comfortable, dry and warm: First Lite Real American Light Beer: Outlaw Beer Better Merch: /SHOP
In the areas around Narvik the fate of northern Norway would be decided. Contact advertising@airwavemedia.com to advertise on History of the Second World War. History of the Second World War is part of the Airwave Media podcast network. Learn more about your ad choices. Visit megaphone.fm/adchoices
Fresh-fallen snow is beautiful, but it poses a challenge to birds. The ground where they found food is now covered by several inches of snow. Birds such as juncos and other sparrows flit under bushes where snow doesn't cover the ground. Finches and chickadees pick at the seed heads of plants sticking out above the snow, while robins (like this American Robin) seek out dried fruits. Nuthatches and woodpeckers cling to trees as they search for insects within the bark.More info and transcript at BirdNote.org. Want more BirdNote? Subscribe to our weekly newsletter. Sign up for BirdNote+ to get ad-free listening and other perks. BirdNote is a nonprofit. Your tax-deductible gift makes these shows possible.
Snows Son, Cousin and Bro join the podcast and we take call ins!
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