Podcasts about Spike Milligan

In May 1991 At Last The Go On Show was broadcast on BBC Radio 2, designed to celebrate the Goon Show's 40th anniversary. It was a stunning documentary that still sounds fresh and relevant today and two of the three men behind it - Dirk Maggs and Ted Kendall - joined Tyler and Graeme Lindsay Foot to discuss how it all came about and the challenges they faced. Ted (who it turns out wanted to be a racing driving before getting into audio engineering) talks about bringing together the clips and sequences which proliferate throughout and the techniques employed to improve their quality. Dirk recalls interviewing Spike Milligan, Harry Secombe and Michael Bentine and the marathon session putting everything together. Graeme looks back at it from the fan's perspective and recalls GSPS get-togethers from years gone by. They also talk about the series of restored shows that aired the following year and the necessary cuts needed in a wide-ranging and thoroughly enjoyable conversation.

In this episode of General Witchfinders, we revisit one of the most unsettling and prophetic dramas ever broadcast by the BBC – Survivors (1975), created by Terry Nation, the man behind the Daleks and Blake's 7. Specifically, we're talking about The Fourth Horseman, the chilling first episode of this 1970s British post-apocalyptic classic.

John Antrobus is 92 years old and still going strong! He is the last living link with the Goon Show inasmuch as he co-wrote (with Spike Milligan) two shows from the eighth series and would later go on to collaborate with Milligan on a regular basis - mostly notably on The Bed Sitting Room.Fifteen years Milligan's junior, young fresh-faced Antrobus joined Associated London Scripts soon after its formation and worked with all the older hands - including Johnny Speight, Galton & Simpson and Eric Sykes. It was an education!A fine comedy writer and playwright, John is long overdue a proper appreciation and joining Tyler this week to bend the knee is Mike Haskins. Mike recalls interviewing Antrobus for some Radio 4 documentaries and examines his career with particular emphasis on his relationship with Spike.

RHLSTP Book Club #145 - Before I Go - Rich is back in St Neots, talking to John Dowie about two of his recent books, The Freewheeling John Dowie and Before I Go. Why did John sell all his records and albums and get on his bike to cycle round Europe? How did he cope with weird and rude hoteliers? How did his penis cause him to cross the continent under false pretences? Plus growing up in Birmingham in another era, his dad's autobiography, giving Spike Milligan his address on a chip wrapper, how Ken Campbell did magic, realising why his school bully behaved in the way he did and why you should only take advice about creative jobs from someone who does it already. A couple of beautiful books from someone who might have people but who loves language and beauty. Do search out his stuff. You won't regret it.Buy Before I Go here - https://poniesandhorsesbooks.com/product/before-i-go/Come and see RHLSTP Live http://richardherring.com/rhlstpTo see Rich on tour head here http://richardherring.com/gigs Hosted on Acast. See acast.com/privacy for more information.

“At least 53 ‘bloodies' in half-an-hour last night. This is definitely not British sir! I suggest you study the British working man more!"So thundered a disgruntled viewer in 1969 after watching an episode of the Johnny Speight & Spike Milligan sitcom Curry & Chips. One notes with interest it was the word 'bloody' which triggered him, as opposed to any of the other bad language with which the series as a whole was replete. Starring Spike Milligan in brownface as Kevin O'Grady, Curry & Chips is chiefly set in the factory of Lillicrap Ltd, a supplier of novelty goods managed ineptly by Arthur Blenkinsop (Eric Sykes) with jumped-up mini-tyrant shop steward Norman (played by Norman Rossington), Kenneth (played by Kenny Lynch) and Young Dick (Geoffrey Hughes) among the workers. Much of the 'humour' was racist in tone, with Kevin subject to regular verbal abuse by his colleagues, although he usually gave as good as he got. There were also swipes at religion, class, politics, sexuality and pretty much any topic that confused, enraged or affected the grumbling Lillicrap staff.It has been suggested that Milligan and Speight hoped that the series would produce audience empathy for immigrants and put a mirror up for the working classes to see their own prejudices reflected back at them. Nice try, lads. Joining Tyler is John Williams, co-host of World Of Telly, who brings his considerable knowledge of the British television landscape in the late sixties to great use, explaining the background and build up to the show, the backlash and eventual cancellation. Curry & Chips was a pretty bloody (that word again!) awful programme but not completely without a few laughs - thanks chiefly to Spike - tune into our chat to find out what had the pair chuckling once or twice in between the wincing and sighing!

In this episode, Cally talks to Kathy Lette about Kylie Minogue, Barry Humphries, Joan Rivers, Germaine Greer, Spike Milligan, books, feminism, autism, sexism, ageism, sisters and second acts.  Instagram: @kathylette Kathy's new book The Revenge Club More about Kathy Order Cally's Book Get tickets for Cally's Tour More about Cally Produced by Mike Hanson for Pod People Productions Music by Jake Yapp Cover design by Jaijo Part of the Auddy Network Learn more about your ad choices. Visit megaphone.fm/adchoices

When Adam Faith and chums decide to make a fake Loch Ness monster they set off a chain of events too hilarious to describe. With a script by Terry Nation, What A Whopper! is a serviceable British comedy film of the early sixties slightly let down by rather colourless leads but lending solid support are the likes of Sid James, Wilfred Bramble, Charles Hawtrey and - you guessed it - Spike Milligan, who plays a tramp fishing on the bank of the Serpentine.Returning guests Tilt Araiza and Gary Rodger from The Sitcom Club mull over Scottish stereotypes, Terry Scott's potty mouth and rubber salmon. Also:Recasting Adam Faith as Harold Steptoe?Is Sid James the Paul Eddington of dirty old men?How does the film compare to Psycho?Is Terence Longdon a young Tommy Cockles?Who thought casting Freddie Frinton was a good idea?Is it a sort of sequel to What A Carve Up?And who brought along Eccles cakes?Tune in to find out the answers to all this and more!

British comedy is an inspiration!  Everything from films produced by the Ealing Company, Spike Milligan and The Goon Show, Monty Python, Keeping Up Appearances, you name it!  I love the laughs, and decided to try writing a British comedy script.  I hope you forgive the accents and enjoy it! Learn more about your ad choices. Visit megaphone.fm/adchoices

British comedy is an inspiration!  Everything from films produced by the Ealing Company, Spike Milligan and The Goon Show, Monty Python, Keeping Up Appearances, you name it!  I love the laughs, and decided to try writing a British comedy script.  I hope you forgive the accents and enjoy it! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jokes! The funny little things we say to blot out the sheer horrifying nausea of existence! Hooray! Today, we discuss squirrels, cats with Phil Collins' face, time-travelling Soviet murder-chimps, monkey bars, extended families, ballet, Spike Milligan, and how to survive a shark attack. Hosted on Acast. See acast.com/privacy for more information.

The third five-star in as many weeks is here — and the 2025 Mars Badminton Horse Trials is shaping up to be a classic. The 2025 Mars Badminton Horse Trials is packed with pressure, prestige, and serious horsepower. Big names, big form, and storylines at every turn — from returning champions to rising stars, it's all on the line. This is your inside look at the contenders, the course, and the stats that could shape the weekend. In this episode, Nicole Brown is joined by Diarmuid Byrne, Spike Milligan, and Catherine Austen to unpack the pressure, form, and firepower heading into one of the most hotly anticipated Badmintons in recent memory. From dressage threats to cross-country specialists and Sunday shakeups, this is the story behind the stats — and your guide to what's coming. Highlights: The Big Five – Graffalo, Rosalent, Vitali, Dublin, Balamore Class — who's got the edge and who might slip? Dark Horses – From Rehy DJ to Chilli Knight to Harry Meade's climbing crew Cross-Country Outlook – What the early rounds will reveal — and who's built for a tough day Sunday Showdowns – Strong jumpers, small margins, and the final test under pressure Podium Predictions – The team picks their winners, surprises, and one horse they can't shake Guests: Diarmuid Byrne – Co-founder of EquiRatings  Spike Milligan – Team vet and cross-country form expert  Catherine Austen – Longtime journalist and Badminton insider    EquiRatings Eventing Podcast: Don't forget to follow us on Instagram and Facebook.

We revisit some beloved children's television series from the seventies and eighties this week as Chris Diamond returns to talk about those occasions when Spike Milligan would pop up as a special guest in shows such as Super Gran, The Sooty Show, Pob's Programme, Jackanory, The Muppet Show, Number 73, Tiswas and The Ratties (which Spike narrated). Wiping a nostalgia-fuelled tear from his eye, Chris regrets the lack of original children's programming which has cut-through these days and warmly reminisces about other shows from the period such as The Wombles, The Smurfs and The Trap Door (with Willie Rushton). There's also time for a game of 'Which Major Celebrity Of The Eighties Didn't Guest Star In Super Gran?' and an attempt by Chris to remember the lyrics to that show's infectiously catchy theme tune. With huge thanks to the exceptional Roger Langridge for this episode's artwork!

We talk about the life and work of the troubled, eclectic, absurdist British author and Goon Show comedian Spike Milligan. Get the After Dark episode and more at patreon.com/artofdarkpod or substack.com/@artofdarkpod. x.com/artofdarkpod x.com/abbielucas x.com/kautzmania […]

"Ah, here is is Christmas Eve and still no offers of pantomime!"One of the best-known Goon Shows ever, Dishonoured - Again went out in January 1959 and before the year was at an end was commercially released (with Tales Of Old Dartmoor) on the LP The Best Of The Goon Shows. It was subsequently repeated more frequently than most Goon Shows and its script was published in a Roger Wilmut book.A remake (superior in every respect) of a Series 5 episode, due to Spike Milligan and Larry Stephens both being unwell and unable to produce an original script, it positively pops and the cast are clearly having a ball. Steve Hatcher joins us this week to talk about this very fine episode which somewhat gives the lie to the lazy belief that by this late point in the show's run the team were coasting and looking to their own individual careers and future success. As well as the episode itself they discuss Harry on stage in Large As Life, Sellers' major film commitments and Spike's rather muddled version of some tragic events.

"Do you want a taste of the lash?""No thanks, I've just had some cocoa."In 1974 the BBC issued the first Goon Show Classics LP. On one side was The Dreaded Batter Pudding Hurler of Bexhill-on-Sea and on the other side was the show we're talking about today: The Histories of Pliny the Elder, Spike Milligan's attempt to pen a sword-and-sandals Goonish epic.It has become one the most beloved Goon Shows ever, with some highly memorable gags and an end-of-term looseness about it. They all sounded like they were just having a lot of fun. Joining Tyler is returning guest James Page and as well as discussing the show itself pay tribute to a couple of the backroom boys, examine the difference between Cyril and Lew and give mention to Mark Kermode, Terry Scott and the Asterix books.

It's time to talk riders. With the 2025 season just getting underway, we're looking beyond the headlines to spotlight the riders set to shape the year ahead. Nicole Brown, Diarm Byrne, and Spike Milligan return to throw down their predictions—from established stars chasing gold to breakout talents building momentum. Who's peaking at the right time? Who's flying under the radar? And who could top the world rankings by season's end? Highlights: Championship Calls – Can Laura Collett finally land individual gold? Could Ros Canter or Yasmin Ingham take the European title on home soil? World Number One Debate – The case for Tim Price, Harry Meade, and a wildcard pick from across the pond (Boyd Martin, anyone?). Depth vs. Brilliance – What really counts when it comes to FEI points, and who's built the horsepower to stay at the top? Next Gen Watchlist – Introducing the young guns you'll be hearing a lot more about: Oscar Fitzgerald, Tom Nestor, Izzy Cook, and more. Guests: Nicole Brown – Ready to rein in the chaos and name names. Diarm Byrne – Letting the data do the talking (mostly). Peter "Spike the Vet" Milligan – Weighing in between vet calls and nappy changes. Three categories. Endless opinions. Some risky predictions. This is your front-row seat to the names you'll be seeing all season long. Presented by Equilume – supporting equine health and performance through innovative light technology. Learn more at equilume.com. EquiRatings Eventing PodcastFollow the EquiRatings Eventing Podcast for more data-led insight, top-tier guests, and everything you need to keep up with the 2025 season on Instagram and Facebook.

According to Peter Sellers: “It all started because Spike Milligan and I once said we wanted to experiment in visual humour. We got as many friends together as we could and went and found a field. That was all we had – friends, a field, a roll of film.”What resulted was 'The Running, Jumping & Standing Still Film' (1959), directed by the up-and-coming Richard Lester, a friend and collaborator of Sellers and Milligan. The short film soon became a word-of-mouth hit and was even nominated for an Oscar. It helped pave the way for Lester to work with the Beatles several years later and Spike Milligan claimed that it was one of the very few true visual representations of Peter Sellers' sense of humour. Although accounts vary it has become accepted that the total budget for the film was £70 (including the rent of a field) and the entire cast was made up of - as Sellers says - friends. So we see Graham Stark, Leo McKern, David Lodge, Mario Fabrizi, Bruce Lacey and Johnny Vyvyan, as well as the two Goons themselves. This week film academic Dr Adrian Smith joins Tyler to talk about this highly influential 11 minutes of mayhem.

For over 50 years it was a staple for Kiwi kids - be it in book, radio play or theatre form: Spike Milligan's Bad Jelly the Witch. Originally a short handwritten story for his kids, it was printed in 1973 and made into an audio version. It was phenomenally popular here - in fact it was the most-licensed New Zealand play and believed to have over one hundred productions throughout the country. But it's set to get a new generation of young fans thanks to Mukpuddy animation studio who have picked up the rights and have turned it into a 13-part series with British star Miriam Margolyes as Bad Jelly. Ryan Cooper is one of the co-founders of Mukpuddy, he's the co-director of the new series (streaming now on TVNZ+) and also the author of a new book, Badjelly, that's just been released. He joins Kathryn to talk about how the book and series came about and the perennial popularity of this deliciously pernicious witch.

In this episode of the Who's He? Podcast.... Who's He? On the TV | Spike Milligan - Part 2 This week it's the second and final part of our look at the television output of Spike Milligan and Phil is joined once again by Tyler Adams from Goon Pod. This episode, they discuss the cast of Q, which leads Phil to tell a story about Bob Todd, Tyler leads the conversation onto Straw Dogs by way of Freddie "Parrot Face" Davies and they both try their hand at doing Spikes Sergeant Major voice. Don't forget to subscribe and listen to Tylers excellent podcast, Goonpod, by clicking on the link below: Goonpod Podcast You can currently find us on X, Threads, Mastodon, Bluesky and Facebook.  Don't miss an episode by subscribing to our show on Apple Podcasts/iTunes, Spotify, Amazon Podcasts, plus many other podcatchers of your choice.  

'When is a meal not a meal?'Stuart Moxham, Spike Milligan, Devo, The Upsetters, Paddy McAloon, The Delines, Lloyd Cole & Jill Sobule, Aztec Camera

In this episode of the Who's He? Podcast.... Who's He? On The TV | Spike Milligan - Part 1 Phil is joined by Tyler Adams of Goonpod to talk about Phil's all time hero, Spike Milligan. In the first part of a two part conversation, Tyler and Phil chat about Spike's TV output from the 1950's through to the early 70's, even including Cucumber Castle starring The Bee Gees! Along the way, they discuss the perils of meeting your heroes and obsessive fans doing impressions. To listen to Tylers excellent podcast, Goonpod, click on the link below: Goonpod Podcast You can currently find us on X, Threads, Mastodon, Bluesky and Facebook.  Don't miss an episode by subscribing to our show on Apple Podcasts/iTunes, Spotify, Amazon Podcasts, plus many other podcatchers of your choice.

“For a shortened version of this programme, please read A Christmas Carol by Charles Dickens, and you won't find much resemblance.”   On 24th December 1959 the tenth and final series of The Goon Show got off to a thoroughly festive start with a show VERY loosely based on the classic Dickens story, in which Scrooge (played by Henry Crun) entrusts Eccles with a Christmas pudding full of gold threepenny bits. This attracts the attention of Grytpype-Thynne and Moriarty and all manner of chaos ensues.   This really was the last hurrah for the Goon Show as Series 10 only ran for six editions – Sellers was already a film star, Secombe was in huge demand as a singer and performer and Milligan (beset with personal dramas) had grown tired of doing it. It was an excuse for Sunday larks but as 1960 arrived they were all ready to move on.   Leading up to the start of the series the BBC publicity department announced: “Christmas is expected to get off to a disastrous start in the Home Service on Christmas Eve. For at exactly 7:30pm announcer Wallace Greenslade will announce over the ether “This is the Goon Show” and for the next thirty minutes Spike Milligan, Peter Sellers and Harry Secombe will start a hilarious riot throughout millions of listeners' homes.”   The show lacked any structure or discipline and yet contains some of the funniest material the Goons ever broadcast, chiefly centred around Scrooge, Eccles and Ned Scratchit. Willium is appearing as Sewerman Sam and Max Geldray defiles the acting craft with a brief role as a Welsh spouse. It wraps up on a musical note for want of a neater ending.   Joining Tyler is Andy Bell whose Welsh-language podcast is Rhaglen Cymru - Andy can be contacted at rhaglencymru@hotmail.com.

On 4th December 1994 Jonathan Ross hosted the British Comedy Awards in front of an invited audience of the great and the good and Noel Edmonds. It was a good year for the likes of Steve Coogan, Michael Barrymore and the Drop the Dead Donkey team but almost from the off Ross was beset by problems, including announcing the winner of the wrong award, having to deal with an out-of-control Meatloaf whose sole intention, it seemed, was to reduce Wossy to a quivering mess, and, most notably, attempting to wrest back control of the room in the wake of Spike Milligan calling the future King of England a 'little grovelling bastard'. The reaction and fallout was to dominate the redtops for days and raised Spike's profile so sufficiently that his chatshow bookings and requests for interviews quadrupled overnight. Joining Tyler to talk about all that and examine the winners (and losers) of the evening are co-host of The Sitcom Club podcast Gary Rodger and the man behind Behind The Stunts, Jon Auty. There's clips aplenty and personal reminiscences from Clive Anderson and Jane Milligan. It's a fun stroll down memory lane and a useful reminder that there was a time when Michael Barrymore was the biggest name in showbiz and the likes of Armando Iannucci and Chris Morris were still considered 'the new boys'.

Whether you're a long-time fan or new to the series, "The Goon Show" offers a unique blend of surreal humor and cultural satire. Join us as we delve into the world of Neddie Seagoon and his eccentric companions, and experience the comedic genius that has inspired countless performers and entertained audiences for decades. Welcome to "The Goon Show," a legendary British radio comedy program that has captivated audiences with its surreal humor and innovative sound effects. Originally broadcast by the BBC from 1951 to 1960, "The Goon Show" is a cornerstone of British comedic history, featuring the talents of Spike Milligan, Peter Sellers, and Harry Secombe.The Story Behind The Goon Show"The Goon Show" was the brainchild of Spike Milligan, who served as the chief creator and main writer. The show was initially titled "Crazy People" before adopting the iconic name "The Goon Show." Known for its absurd plots, clever wordplay, and groundbreaking use of sound effects, the series satirized various aspects of contemporary British life, including politics, the military, and popular culture.Key Characters and VoicesThe main cast includes: Spike Milligan as various characters, including Eccles and Count Jim Moriarty Peter Sellers as Bluebottle, Hercules Grytpype-Thynne, and other roles Harry Secombe as Neddie Seagoon, the central character in many episodes Michael Bentine as Professor Osric Pureheart (in the early series)

Released 69 years ago this week, The Cockleshell Heroes was a heavily fictionalised account of the real-life WW2 Operation Frankton, in which a group of marines, headed by Herbert ‘Blondie' Hasler, covertly entered Bordeaux Harbour in kayaks (or ‘Cockles') to sabotage German cargo vessels. The film starred actor/director Jose Ferrer and Trevor Howard, with Anthony Newley and… drum roll… DAVID LODGE providing solid support as Marines Clarke & Ruddock respectively.   Although The Cockleshell Heroes was a hit with audiences and looks gorgeous in Technicolour it doesn't tend to get talked about as much as other similar WW2 films of the period and perhaps this was partly down to the almost anti-climactic third act. However, thanks to shameless plugging by David Lodge on a frequent basis some two decades later as part of Spike Milligan's Q series the film is still regarded affectionately by some people, particularly listeners to this podcast, and it seemed a nice idea to put it under the scrutinising gaze of your host and his special guest this week.   Joining Tyler is Warren Cummings, host of The Cinematic Sausage podcast and someone with a very direct link to the true events which this film depicts – his grandfather served alongside the ‘Cockleshell Heroes' in WW2.   It's a great chat with tons of fascinating factual information about Operation Frankton and how the film reflected the true events, plus there's a long-deserved tribute to David Lodge, without whom this podcast would be poorer.

It's the twelfth anniversary of the legendary Maker Faire in Rome, the European Edition which has been organised by the Rome Chamber of Commerce It is hard to describe the event; it's more than a fair, not a conference, and in its current geography, it feels more like a social gathering attached to a major music festival - only without the music. Maker Faire Rome is the largest of its kind in Europe and is dedicated to the makers and their inventiveness and imagination. Part engineers, part geeks, part craftspeople, part student, part inventors, and part artists, they all share a love of technology and have an eye on the future. Innovation Fair 2024 review This year there was a breezy range of exhibitions stands and halls spread across the old Gas Works. The weather was fair and sunny despite damp weather warnings, while the clouds held off and the sun graced the crowds with her favour. Day one, on Friday, was thronged with school children and university students. It reminded me of the Ploughing Championship here in Ireland where all country children take out of school and visit the sprawling fair with every kind of farm machinery, livestock and everything in between, but especially farm machinery. Maker Faire is on a smaller scale with circuit boards over combine harvesters on show. However, Maker Faire Rome has been on the schedule of the Italian Ministry of the Education since 2015 as an educational Stem activity. Some 900K students attended the show on the 25th of October together with their teachers. There were also many students exhibiting as this show begins with ideas and travels through to fully fledged businesses in want of serious funding. My personal favorite corner of the show was the circular building named Level -1 of Gazometro G3 - filled with ideas for medicine, design, fashion and everyday ideas. One stand that impressed me was the Bi-rex Srl Società Benefit, or simply Bi-rex, a female-led innovative startup founded by Greta Colombo Dugoni and Monica Ferro. They were addressing real world issues of creating paper and other objects from recycled waste but not from trees in order to reduce the need for virgin resources and help prevent deforestation. They cited a report from the European Commission that the food processing industry in the EU generates 173 kg of agri-food waste per capita annually. They identified this waste as a valuable resource for paper production. Currently some 37.5 tones of cellulose of which 44% comes from virgin fibres are consumed annually. Bi-rex focuses on upcycling by-products from the agri-food sector, including brewery waste, rice husks, citrus peels, coffee grounds, pasta, and cookie production waste, transforming them into sustainable fibers. These fibers are used to create eco-friendly tableware, paper, and packaging, reducing environmental impact and promoting a circular economy. Bi-rex paper conserves 95% of energy and water and reduces CO? emissions by 70%, offering an eco-friendly alternative while maintaining unique mechanical performance compared to virgin pulp and recycled cardboard. The stand had product examples on display as the project is beyond prototyping and is working with industrial paper mills, including multinational companies, for fiber industrialization. They have big plans and aim to capture ten percent of the paper market within the next five years. Another gem was Light Hole, while an unusual name with possible limitations if sold in Ireland as the name might convey other ideas, the actual product is both practical and innovative. Claudio Gioserio, the founder of the ambient light company, had very little English and I had no Italian. And so betwixt us both, we licked the platter clean. Gioserio explained in halting English that his invention meant the light seeped from the holes thereby creating soft diffuse lighting. As he spoke I was reminded of Spike Milligan's poem, Bump. Afterwards he emailed me some videos to explain the genesis behind the lamps...

Without these guys, there may well not have been Monty Python or Firesign Theatre yet to much of the world they are just a distant (and very funny) memory. Who are these titans? It's the Goon Show which tickled British comedy fans during the 1950s with comedy that was smart, surreal, and sometimes just plain silly. The core Goons -- Peter Sellers, Spike Milligan, and Harry Secombe worked off scripts penned by Milligan, playing a variety of off the wall characters. The voice work was superb and the structure of the shows is best described as avant-garde and four dimensional. Secombe and Milligan went on to successful entertainment careers and Sellers became an international movie star. But it all started with some guys who wouldn't play by traditional comedy rules -- and aren't we glad they wouldn't. As always find extra clips below and thanks for sharing our shows. Want more Goons? If you have time, crack open your favorite beverage and enjoy a complete Goon Show, this one from 1955.https://youtu.be/VuVFFNvyUT8?si=Rci_cSflpvqo7lrI Harry Secombe and Peter Sellers provided some of the favorite character voices for the Goons and this clip from 1954 shows their chemistry. https://youtu.be/clX7FInbQ58?si=xPNBPwV5ZZkyyTh6 While the Goon Show ended it run in 1960, the Goons did reunite for one final blowout for the BBC's 50th anniversary in 1972. It delighted their fans and probably mystified everyone else -- perfection!https://youtu.be/XF745ywyvVY?si=8JxivMO8DSBOielA

The twelfth episode of our season on the awesome movie year of 1969 features our cult classic pick, Richard Lester's The Bed Sitting Room. Directed by Richard Lester from a screenplay by John Antrobus and starring Ralph Richardson, Rita Tushingham, Michael Hordern and Arthur Lowe, The Bed Sitting Room is adapted from the play by Spike Milligan and John Antrobus.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1969/09/29/archives/screen-lesters-surrealistic-farce-the-bed-sitting-room-is-at-little.html), Penelope Houston in The Spectator (https://archive.spectator.co.uk/article/4th-april-1970/19/arts-long-knives-at-dunsinane), and Bernard Drew in the Gannnett News Service.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring our producer David Rosen's pick, David Lowell Rich's Eye of the Cat.

In 1975 David Dimbleby conducted an interview on television with Spike Milligan, and as the Fates would have it Spike was in the perfect frame of mind for such a probing and personal interrogation. They talked about his childhood, the war, his career, his mental health, the breakdown of his marriage in the fifties, his hopes and regrets and even touch on (then) contemporary events - the boy he shot in his garden and the fallout which resulted in him being dropped from several animal charities. The conversation is punctuated by a series of filmed sequences in which people who knew Spike well give their views on the ex-Goon, such as his fellow ex-Goon Peter Sellers, writer and collaborator John Antrobus and old friend and mentor Jimmy Grafton. As indicated, Spike takes it all largely in his stride, with only very occasional flashes of annoyance or irritation and the odd bemused frown and it remains one of the most insightful and honest portraits of the great man we have. Our guest this week is actor & writer Lee Moone who previously has adapted Milligan's Phantom Raspberry-Blower of Old London Town for the stage.

Young Ned Seagoon, walking the streets of London during a particularly thick 'pea-souper,' accidentally knocks over a Miss Selina Clutch. Her strange behaviour mystifies young Neddie until a chance meeting with Dr. Rheingold Fnutt puts him on the track of an underground terrorist organisation led by the reckless 'Overcoat Charlie' intent on wrecking the capital's commercial life by blanketing London with an artificial foreign fog that makes people think nothing but the best of each other. Professor Crun is called in by the Government to find an antidote to 'Forog' but not before Professor Moriarty and Commercial Attache, Grytpype-Thynne, nearly succeed in bringing London life to a standstill. So runs the synopsis to this week's edition but as is usually the case the actual show itself bears little relationship to Spike Milligan's fevered precis. Instead, we find an increasingly manic Ned Seagoon hell-bent on solving London's fog problem, conversing with statues and getting all xenophobic over atmospheric conditions. Joining Tyler this week is James Page who loves Forog... but can our host say the same?

Ep. 673: Ridwell | Chapter 45-46 / Volume 3, Chapter 9-10 Book talk begins at 11:01. Jane Fairfax's health takes center stage as “nervous fever”. We also stumble across the Greek god Momus and of course, Jane Austen weaves in some references to a Goldsmith song from  “The Vicar of Wakefield”. Plus, have you heard about Ridwell? Check all of it out. --------------------------------------------------------------- • • • • Can you use arrowroot in a gravy for people who can't have flour? Let us know in the comments! • The definition of typhus versus the definition of typhoid • • Spike Milligan from The Goon Show • Goldsmith's song from “the vicar of wakefield” • Mourning hems • Closeup of hems •   CraftLit's socials: • Find everything here: • Join the newsletter: • Podcast site: • Facebook: • Facebook group: • Pinterest: • TikTok podcast: • Email: • Check out the list of previous CraftLit Classics here: Support the show links: Subscribe to the Premium feed (on the app) here: or on Patreon: (same price, $5/month) • Download the FREE CraftLit App for iOS or Android (you can call or email feedback straight from within the app) • Call 1-206-350-1642

This week a slight departure as Chris Diamond returns to take a leisurely meander through the world of British comedy, randomly choosing from a selection of topics (such as Who Was The Fifth Goon?) and pondering upon the genius (or otherwise) of such performers as Kenneth Williams, Michael Bentine, Bob Monkhouse, Arthur English, Hinge & Bracket, Bernard Manning and Spike Milligan, plus shows such as 15 Stories High, The Good Life, One Foot In The Grave, Blackadder, Nearest & Dearest, French & Saunders and Rising Damp.

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

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

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

 The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
   #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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John Rain & Paul Litchfield join Tyler to discuss Peter Cook and Dudley Moore's 1978 adaptation of the classic Sherlock Holmes story, an attempt to make a hit mainstream comedy but which failed to find an audience. Mostly owing to it not being very good. Directed by American Paul Morrissey this was the first major film project he made without the involvement of Andy Warhol. Rather bizarrely Morrissey was a fan of the Carry On films and he was keen to bring that sort of humour to the screen, enlisting Kenneth Williams to play Sir Henry Baskerville and stuffing it full of familiar faces from the world of British comedy. The result was a bit of a mess, with indoor fog and urinating dogs small compensation for proper belly laughs but there is still plenty to talk about and some titters among the dross. It's not a complete dog of a film. And why are we covering it on Goon Pod? Why, for the small scene-stealing cameo from Spike Milligan as a policeman. Enjoy! Many thanks to the wonderful Jonathan Roberts for this episode's artwork! There's also a taster of August's edition of Goon Pod Film Club, in which Tim Worthington talks Billy Liar! Head over to www.patreon.com/GoonPod

It's 50 years since Spike Milligan recorded an LP version of his children's story Badjelly the Witch, with music by Ed Welch. The story is simple and hilarious. Two children, Tim & Rose, go in search of their lost cow Lucy and along the way have adventures with characters such as Binklebonk the tree goblin and his grasshopper Silly Sausage, Mudwiggle the worm and Dinglemouse, a former banana. Peril is just around the corner however, as they are captured by the terrifying witch Badjelly who wants to eat them up for breakfast! The record was a huge hit with kids in New Zealand, thanks to radio broadcasts in the seventies and eighties, and even today the mere mention of the name 'Badjelly' will elicit broad grins of recognition across generations, yet oddly it barely registers with people in Britain. Hoping to put this right is cartoonist and writer Roger Langridge (who also designed this week's delightful artwork) who chats to Tyler about the history of Badjelly and shares favourite moments. There's also a lovely return visit from Jane Milligan who talks warmly about the baddest witch in all the world and hints at what the future holds.

In early March 1958 the elderly actor A.E. Matthews staged a protest outside his cottage in Bushey Heath – he sat on a chair over a hole the council had dug with the intention of erecting a lamp post there. A minor squabble which quickly caught the ear of the media, Matthews' stand against his local council became a cause célèbre and he was interviewed on television. Spike Milligan liked the cut of his jib and within a week the Goons were recording The Evils of Bushey Spon, all about the erection of a lamp-post. Matthews himself makes a guest appearance in the closing minutes and everything perfectly falls apart.   It was such a slight story on the face of it, only attracting interest due to an octogenarian celebrity being involved, and would have been very quickly completely forgotten had it not been for the Goons - as such, it remains a tiny ‘and finally'-type news story immortalised for the ages.   Joining Tyler to talk about it is returning guest Chris Diamond, who also takes the opportunity to pay tribute to the late great Donald Sutherland.

60 years ago the Labour Party won the UK General Election, booting the Conservatives out of office after thirteen years. It is not known if Harold Wilson listened to the LP 'How To Win An Election (Or Not Lose By Much)' but even if he had it is highly unlikely he would have found it instructive. Leslie Bricusse brought together Spike Milligan and Harry Secombe to record this album one afternoon in early 1964 after a lunch in which vast quantities of wine had been dispatched. Peter Sellers recorded his parts a number of weeks later and very soon after technically died (he did, however, recover). This week Brett Tremble - @agnes_guano on Twitter - joins Tyler to tell the tale behind the making of the LP. The conversation includes predictions about the forthcoming General Election and as such could leave them with red faces should opinion polls turn out to be wrong! ******** Sign up for Goon Pod Film Club here: www.patreon.com/GoonPod - first episode on Kind Hearts & Coronets out Saturday 6th July! **********

Johnny Speight, creator of Alf Garnett, had a long friendship with Spike Milligan, stretching back to the mid-fifties and the Associated London Scripts days. Speight wrote Till Death Us Do Part which delighted and shocked television audiences in equal measure, with Garnett given to frequent outbursts against what he perceived as society's ills: immigration & foreigners in general, socialism, young people, increasing secularism, homosexuals, lack of due deference to the Royal Family and the ruling elite, feminism and anything else that he didn't really understand and felt threatened by. In the mid-1980s Speight wrote a follow-up series to Till Death Us Do Part called In Sickness and in Health, which reintroduced audiences to Alf, now older but hardly any wiser. From the second series Alf was a widower (after the death of his co-star Dandy Nicholls) and there gradually grew a new set of characters to antagonise and exasperate him. In the third series Spike had a guest appearance as Fancy Fred, squaring up to Alf at a tea dance and later bickering over where he parked his van. It's not a huge part and Spike wasn't aiming for any Bafta awards, but it's an intriguing cameo and one which we thought was worth talking about this week on Goon Pod - as well as talking about the Alf Garnett universe in general. Joining Tyler is comedian John Dredge, currently riding high with a new series of his sketch show The John Dredge Nothing To Do With Anything Show - which can be found HERE: https://www.comedy.co.uk/podcasts/john_dredge_show/

"Being the account of the hole, the wonderful way it was filled, and with what. Written for the wireless by Spike Milligan." On the 12th August 1957 a Daily Mirror reporter encountered Peter Sellers, Harry Secombe and Spike Milligan larking about around Cleopatra's Needle on London's Embankment: ""This is 1887!" yelled Spike Milligan, standing on the base in a pair of rust corduroy trousers, green shoes, a tail coat - and a topee. ""We've just brought this back from Africa, a well-known place." "Alongside him were Harry Secombe and Peter Sellers in tail coats and toppers. Harry screeched (and ducked): "Look out - pigeon!" then started to sing a song about "Lord Palmerston I love you..." "Having all convinced themselves that they had just brought the needle back across the seas, Harry announced: "I now declare this needle well and truly threaded!" "Then they sang: "There'll always be an England" and gave three hearty cheers for the Empire." Some three years after the interesting experimental edition of the Goon Show called The Starlings which was performed more as a radio play without an audience, in August 1957 the Goons reconvened ahead of the 8th series to record The Reason Why in a similar fashion. It purported to tell the story behind the transportation of Cleopatra's Needle from Alexandria to London but through a typically Goonish filter. Produced by Jacques Brown and also featuring Goon Show rep company player Valentine Dyall, The Reason Why was not quite as successful in its execution as The Starlings, but still a fascinating curio and this week Phil Shoobridge joins Tyler to talk about it.

The British sitcom film of the seventies - doesn't the very mention of the genre make your heart sing? Sure, there were some stinkers, but this week we're talking about one which we consider to be a fairly successful adaptation: Man About The House from 1974. Why is this being covered on Goon Pod? Two reasons. Firstly, Spike Milligan is in it, playing himself. Secondly, it's Tyler's podcast and he likes MATH, so there. Joining him to talk about the film and wander down countless conversational backstreets are three chums: Gary Rodger & Tilt Araiza from The Sitcom Club and Jaffa Cakes For Proust podcasts and Andrew Hickey from A History of Rock Music in 500 Songs. Among other things they consider John Inman's career down under, speculate as to what exactly happened on George & Mildred's honeymoon and ponder the possibility of Harry Nilsson recording the theme tune to Porridge!

In 1954 Spike Milligan and Eric Sykes, along with Ray Galton, Alan Simpson and Frankie Howerd, formed Associated London Scripts, envisaged as a comedy scriptwriters' cooperative, situated above a greengrocers in Shepherd's Bush. Soon it would swell in number, with the likes of Johnny Speight, John Antrobus, Terry Nation, Brad Ashton and Dick Vosburgh coming on board, with the mighty Beryl Vertue acting as sort of de facto agent for them all. Between them they were responsible for much of the comedy coming out of Britain in the late fifties and sixties, including The Goon Show, Hancock's Half Hour, The Army Game, Till Death Us Do Part, Steptoe & Son, Sykes And A..., The Arthur Haynes Show and many more, while Terry Nation wrote for Tony Hancock and then came up with the idea for some pepperpot-shaped Timelord-botherers and never looked back. The story of ALS is too big a topic to condense down to ninety minutes, but Tyler and guest Mike Haskins try their best - Mike was involved in a Radio 4 documentary about ALS some twenty years ago and had access to the likes of Antrobus and Galton & Simpson and has some fascinating tales to share!

In 1990 the airwaves were set alight with the arrival of Flywheel, Shyster & Flywheel to BBC radio. Based on material from a series of the same name broadcast on American radio in the early thirties, these modern adaptations benefited hugely from great production, excellent scripts and a highly talented cast, particularly the two lead performers Michael Roberts and Frank Lazarus, both of whom totally captured the energy and spirit of Groucho & Chico Marx, retaining their timeless character while giving them a contemporary tweak. The then up-and-coming BBC radio wunderkind Dirk Maggs (who later gained audio industry national treasure status via his collaborations with the likes of Neil Gaiman) directed the show and it ran for three series on BBC Radio 4, attracting huge listening figures and much popular acclaim. One of its biggest champions was a man who by this point in his life was critical about what he considered the state of modern comedy: Spike Milligan. Confessing to having been delighted and enchanted by the series – and coming from a huge Marx Brothers fan from whom he had drawn much inspiration this was high praise indeed – Spike was invited onto the show. The former Goon ended up appearing twice, and despite nerves seemed to relish every moment of it. This week Goon Pod has the rare honour of playing host to Dirk, Michael and Frank, who look back at the series and recall how it came about, sharing favourite moments and behind-the-scenes gossip and remembering the rather challenging circumstances in which they welcomed Spike onto the show. News of the remake was huge at the time and received international television coverage from the likes of CNN. We hear some rare clips and Frank talks about appearing on the Dick Cavett Show in an earlier iteration of Chico, while Michael explains about how ad-libbing was positively encouraged. There is also tribute paid to Mark Brisenden, the man behind the scripts, and the supporting cast including Lorelei King and Graham Hoadly, not to mention the great Dick Vosburgh, the accomplished comedy writer who did so much to revive the Marx Brothers in the seventies and eighties and who acted as consultant on FS&F. A must-listen for fans of the Marx Brothers, the Goons or great comedy in general!

"All trams have been melted down and made into melted-down trams." In 1952 London's last tram rolled into the depot. Two years later the Goons decided to mark the occasion with a show - better late than never! At the London Pleasure Transport Board, Redundant Tram Department, Inspector Ned Seagoon receives a phone call informing him that there's still a tram at large on the Highgate-Kingsway route, and, indeed, the tram map still has one flag pin stuck in it, for a number 33. Driver Henry Crun refuses to move the tram unless he is afforded a proper last tram ceremony. Seagoon has to negotiate with the corrupt Chairman of the Country & Town Planning Society who agrees to the ceremony, but on the cheap. Writing was credited to Spike Milligan & Eric Sykes but it seems fairly certain Eric took the lion's share of work that week. The Last Tram (from Clapham) is a real gem of a Goon Show - well structured, well-paced, with some interesting one-off characters, a nice pay-off and the odd unusual choice of sound effect (such as the otherworldly harp). Joining Tyler to talk about it is our Welsh-language correspondent from Down Under, Andy Bell! As well as chatting about the show they discuss Britain's Rudest Man, the length of Alan Ladd, the Telegoons version of the show, Spike in Australia, the history of London's tram network and... Menace Strain Bullshine? Andy can be found on Twitter/X: @obelloz

This week Susie and Gyles get lost in the world of nonsensical language, and embrace the weird, wacky and wonderful ways the English language can be. Your favourite duo also pay homage to the masters of nonsensical language – Dr. Seuss, whose fantastical worlds and playful rhymes have enchanted generations of readers; Spike Milligan, the irreverent genius known for his zany humor and inventive wordplay; and Edward Lear, the Victorian poet and artist renowned for his witty limericks and nonsensical verse. We love hearing from you, find us @SomethingRhymes on Twitter and Facebook, @SomethingRhymesWith on Instagram or you can email us on our email address here: purplepeople@somethingrhymes.com Want even more purple, people? Join the Purple Plus Club by clicking the banner in Apple podcasts or head to purpleplusclub.com to listen on other platforms' Don't forget that you can join us in person at our upcoming tour, tap the link to find tickets: www.somethingrhymeswithpurple.com  Enjoy Susie's Trio for the week:  Spissitude: Thickness or compactness.  Latescent: Slowly becoming hidden.  Gronk: Fluff between your toes. Gyles' poem this week was 'The Owl and the Pussy-Cat' by Edward Lear I The Owl and the Pussy-cat went to sea    In a beautiful pea-green boat, They took some honey, and plenty of money,    Wrapped up in a five-pound note. The Owl looked up to the stars above,    And sang to a small guitar, "O lovely Pussy! O Pussy, my love,     What a beautiful Pussy you are,          You are,          You are! What a beautiful Pussy you are!" II Pussy said to the Owl, "You elegant fowl!    How charmingly sweet you sing! O let us be married! too long we have tarried:    But what shall we do for a ring?" They sailed away, for a year and a day,    To the land where the Bong-Tree grows And there in a wood a Piggy-wig stood    With a ring at the end of his nose,              His nose,              His nose,    With a ring at the end of his nose. III "Dear Pig, are you willing to sell for one shilling    Your ring?" Said the Piggy, "I will." So they took it away, and were married next day    By the Turkey who lives on the hill. They dined on mince, and slices of quince,    Which they ate with a runcible spoon; And hand in hand, on the edge of the sand,    They danced by the light of the moon,              The moon,              The moon, They danced by the light of the moon. A Sony Music Entertainment production.   Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts     To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices. Visit podcastchoices.com/adchoices

John Wilson talks to actor, comedian, broadcaster and writer Sir Michael Palin. A founding member of the hugely influential comedy troupe Monty Python's Flying Circus, he wrote and performed in its five television series and three feature films including The Life Of Brian. Other big screen credits include A Fish Called Wanda, Brazil, The Missionary and The Death of Stalin. Michael is also a globetrotting documentary presenter and bestselling author.Michael recalls the early influence of listening to radio comedy as a child, especially the absurdist humour of The Goon Show devised by Spike Milligan. Meeting Terry Jones at Oxford University in 1962 proved to be a life-changing event as the two soon started working on sketches together and after graduating were hired for David Frost's satirical television show The Frost Report. It was on this programme that the duo first worked with future Python members John Cleese, Graham Chapman and Eric Idle. Starring in Alan Bleasdale's 1991 ground breaking television drama GBH allowed Michael a departure from comedy but also set the bar high for future acting roles which he increasingly forwent in favour of writing and presenting documentaries, including a particular favourite about the Danish Painter Vilhelm Hammershøi.Producer: Edwina PitmanArchive :A Fish Called Wanda, Charles Crichton, 1988 Take It From Here, BBC Light Programme, 1954 The Goon Show, The Man Who Never Was, BBC Light Programme, 1958 Comic Roots, BBC1, 1983 That Was The Week That Was, BBC, 1963 The Frost Report, BBC1, 1966 Do Not Adjust Your Set, ITV, 1967 Monty Python's Flying Circus, BBC1, 1969-1970 The Meaning of Life, Terry Jones, 1983 Friday Night, Saturday Morning, BBC2, 1979 The Life of Brian, Terry Jones, 1979 GBH, Alan Bleasdale, Channel 4, 1991 The Death of Stalin, Armando Iannucci, 2017 Michael Palin and the Mystery of Hammershøi, BBC4, 2008

John Wilson talks to actor, comedian, broadcaster and writer Sir Michael Palin. A founding member of the hugely influential comedy troupe Monty Python's Flying Circus, he wrote and performed in its five television series and three feature films including The Life Of Brian. Other big screen credits include A Fish Called Wanda, Brazil, The Missionary and The Death of Stalin. Michael is also a globetrotting documentary presenter and bestselling author.Michael recalls the early influence of listening to radio comedy as a child, especially the absurdist humour of The Goon Show devised by Spike Milligan. Meeting Terry Jones at Oxford University in 1962 proved to be a life-changing event as the two soon started working on sketches together and after graduating were hired for David Frost's satirical television show The Frost Report. It was on this programme that the duo first worked with future Python members John Cleese, Graham Chapman and Eric Idle. Starring in Alan Bleasdale's 1991 ground breaking television drama GBH allowed Michael a departure from comedy but also set the bar high for future acting roles which he increasingly forwent in favour of writing and presenting documentaries, including a particular favourite about the Danish Painter Vilhelm Hammershøi.Producer: Edwina Pitman

Henry Normal set up Baby Cow Productions with Steve Coogan, co-wrote the Royle Family, Coogan's Run and Mrs Merton and produced Gavin & Stacy and Red Dwarf. He's been a central plank in British comedy since the early ‘90s and, throughout it all, developed his own stage show built around poems and stories. He's touring the UK with Brian Bilston. This podcast is full of hard-won insight into what makes comedy work and how the best poetry connects with “a greater truth”. And much besides including … … what middle-class BBC execs wanted to change about the Royle Family and why it worked as it was. … touring with John Cooper Clarke “who lived by a cemetery and had egg custard for breakfast”. … putting on a Pensioners' Disco, aged 14, that featured The March of The Mods played at 33. ... the influence of Roger McGough and the Liverpool poets. … how, apart from the Office, American versions of British comedies mostly fail to get the point. … seeing Juicy Lucy at the Nottingham Boat Club when he was 17. … what made Spike Milligan's Small Dreams Of A Scorpion so original. … working with Caroline Aherne and Craig Cash and the Guardian's first review – “three middle-class writers”. … how to structure spoken word shows – “salad rather than soup”. … and reflections about Mr Inbetween, Derry Girls, Clive James and Norman Gunston.   Get tickets for Henry Normal and Brian Bilston here: https://www.ents24.com/uk/tour-dates/henry-normalSubscribe to Word In Your Ear on Patreon for early - and ad-free - access to all of our content: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

All the way from the UK, this week Ken welcomes writer, poet, and television producer Henry Normal to the show. Ken and Henry discuss his tea just arriving, what builders drink, Baby Cow, how being a poet was essentially the same as being a stand up in the UK, The UK's alt comedy revolution, Craig Charles, selling merch, punk rock, American stand up comedy, class based society, character comedy, Jack Benny, vaudeville, The Max Brothers, Mort Saul, Lenny Bruce, Richard Pryor, Working Men's Clubs, bad blue collar, racism, Dave Allen, Monty Python, Spike Milligan, not punching down, The Comedy Store, Manchester, nightmare gigs, The Black and White Minstrel Show, competing with slot machines, touring with Pulp, The Mock Turtles, Steve Coogan, The Young Ones, Nigel Planer, The Comic Strip, putting all your friends on TV, The North South Divide, being the reigning Daily Mail Young Comic of the Year, Packet of Three, Bamboozled, US v. UK TV, The Royle Family, US Remake of UK shows, Red Dwarf, working class people, The Rockford Files, Sgt. Bilko, Frank Skinner, the trauma that leads to comedy, deaths in the family, Caroline Ahern, Graham Duff, Dr. Terrible's House of Horrible, Marion and Geoff, Human Remains, Ideal, Julia Davis, Rob Brydon, Jonathan Ross, Alan Partridge, why you should always wear a suit, BBC3, Fat Boy Slim, Brain Candy, Alan Car, Robin Ince, Nighty Night, unlikable main characters, The Might Boosh, The Banana Splits, I Am Not An Animal, Peter Baynham, Canadian football fans, making ugly television, making good stuff, things that nobody will ever seen on television, Jessica Hynes, Lizzie and Sarah, Mr. Inbetween, hired killers, and how weird stand up comics are. 

Episode 171 looks at "Hey Jude", the White Album, and the career of the Beatles from August 1967 through November 1968. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a fifty-seven-minute bonus episode available, on "I Love You" by People!. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata Not really an error, but at one point I refer to Ornette Coleman as a saxophonist. While he was, he plays trumpet on the track that is excerpted after that. Resources No Mixcloud this week due to the number of songs by the Beatles. I have read literally dozens of books on the Beatles, and used bits of information from many of them. All my Beatles episodes refer to: The Complete Beatles Chronicle by Mark Lewisohn, All The Songs: The Stories Behind Every Beatles Release by Jean-Michel Guesdon, And The Band Begins To Play: The Definitive Guide To The Songs of The Beatles by Steve Lambley, The Beatles By Ear by Kevin Moore, Revolution in the Head by Ian MacDonald, and The Beatles Anthology. For this episode, I also referred to Last Interview by David Sheff, a longform interview with John Lennon and Yoko Ono from shortly before Lennon's death; Many Years From Now by Barry Miles, an authorised biography of Paul McCartney; and Here, There, and Everywhere: My Life Recording the Music of the Beatles by Geoff Emerick and Howard Massey. This time I also used Steve Turner's The Beatles: The Stories Behind the Songs 1967-1970. I referred to Philip Norman's biographies of John Lennon, George Harrison, and Paul McCartney, to Graeme Thomson's biography of George Harrison, Take a Sad Song by James Campion, Yoko Ono: An Artful Life by Donald Brackett, Those Were the Days 2.0 by Stephan Granados, and Sound Pictures by Kenneth Womack. Sadly the only way to get the single mix of “Hey Jude” is on this ludicrously-expensive out-of-print box set, but a remixed stereo mix is easily available on the new reissue of the 1967-70 compilation. The original mixes of the White Album are also, shockingly, out of print, but this 2018 remix is available for the moment. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a quick note -- this episode deals, among other topics, with child abandonment, spousal neglect, suicide attempts, miscarriage, rape accusations, and heroin addiction. If any of those topics are likely to upset you, you might want to check the transcript rather than listening to this episode. It also, for once, contains a short excerpt of an expletive, but given that that expletive in that context has been regularly played on daytime radio without complaint for over fifty years, I suspect it can be excused. The use of mantra meditation is something that exists across religions, and which appears to have been independently invented multiple times, in multiple cultures. In the Western culture to which most of my listeners belong, it is now best known as an aspect of what is known as "mindfulness", a secularised version of Buddhism which aims to provide adherents with the benefits of the teachings of the Buddha but without the cosmology to which they are attached. But it turns up in almost every religious tradition I know of in one form or another. The idea of mantra meditation is a very simple one, and one that even has some basis in science. There is a mathematical principle in neurology and information science called the free energy principle which says our brains are wired to try to minimise how surprised we are --  our brain is constantly making predictions about the world, and then looking at the results from our senses to see if they match. If they do, that's great, and the brain will happily move on to its next prediction. If they don't, the brain has to update its model of the world to match the new information, make new predictions, and see if those new predictions are a better match. Every person has a different mental model of the world, and none of them match reality, but every brain tries to get as close as possible. This updating of the model to match the new information is called "thinking", and it uses up energy, and our bodies and brains have evolved to conserve energy as much as possible. This means that for many people, most of the time, thinking is unpleasant, and indeed much of the time that people have spent thinking, they've been thinking about how to stop themselves having to do it at all, and when they have managed to stop thinking, however briefly, they've experienced great bliss. Many more or less effective technologies have been created to bring about a more minimal-energy state, including alcohol, heroin, and barbituates, but many of these have unwanted side-effects, such as death, which people also tend to want to avoid, and so people have often turned to another technology. It turns out that for many people, they can avoid thinking by simply thinking about something that is utterly predictable. If they minimise the amount of sensory input, and concentrate on something that they can predict exactly, eventually they can turn off their mind, relax, and float downstream, without dying. One easy way to do this is to close your eyes, so you can't see anything, make your breath as regular as possible, and then concentrate on a sound that repeats over and over.  If you repeat a single phrase or word a few hundred times, that regular repetition eventually causes your mind to stop having to keep track of the world, and experience a peace that is, by all accounts, unlike any other experience. What word or phrase that is can depend very much on the tradition. In Transcendental Meditation, each person has their own individual phrase. In the Catholicism in which George Harrison and Paul McCartney were raised, popular phrases for this are "Lord Jesus Christ, Son of God, have mercy on me, a sinner" or "Hail, Mary, full of grace, the Lord is with you; blessed are you among women, and blessed is the fruit of your womb, Jesus. Holy Mary, Mother of God, pray for us sinners now and at the hour of our death. Amen." In some branches of Buddhism, a popular mantra is "_NAMU MYŌHŌ RENGE KYŌ_". In the Hinduism to which George Harrison later converted, you can use "Hare Krishna Hare Krishna, Krishna Krishna Hare Hare, Hare Rama Hare Rama, Rama Rama Hare Hare", "Om Namo Bhagavate Vāsudevāya" or "Om Gam Ganapataye Namaha". Those last two start with the syllable "Om", and indeed some people prefer to just use that syllable, repeating a single syllable over and over again until they reach a state of transcendence. [Excerpt: The Beatles, "Hey Jude" ("na na na na na na na")] We don't know much about how the Beatles first discovered Maharishi Mahesh Yogi, except that it was thanks to Pattie Boyd, George Harrison's then-wife. Unfortunately, her memory of how she first became involved in the Maharishi's Spiritual Regeneration Movement, as described in her autobiography, doesn't fully line up with other known facts. She talks about reading about the Maharishi in the paper with her friend Marie-Lise while George was away on tour, but she also places the date that this happened in February 1967, several months after the Beatles had stopped touring forever. We'll be seeing a lot more of these timing discrepancies as this story progresses, and people's memories increasingly don't match the events that happened to them. Either way, it's clear that Pattie became involved in the Spiritual Regeneration Movement a good length of time before her husband did. She got him to go along with her to one of the Maharishi's lectures, after she had already been converted to the practice of Transcendental Meditation, and they brought along John, Paul, and their partners (Ringo's wife Maureen had just given birth, so they didn't come). As we heard back in episode one hundred and fifty, that lecture was impressive enough that the group, plus their wives and girlfriends (with the exception of Maureen Starkey) and Mick Jagger and Marianne Faithfull, all went on a meditation retreat with the Maharishi at a holiday camp in Bangor, and it was there that they learned that Brian Epstein had been found dead. The death of the man who had guided the group's career could not have come at a worse time for the band's stability.  The group had only recorded one song in the preceding two months -- Paul's "Your Mother Should Know" -- and had basically been running on fumes since completing recording of Sgt Pepper many months earlier. John's drug intake had increased to the point that he was barely functional -- although with the enthusiasm of the newly converted he had decided to swear off LSD at the Maharishi's urging -- and his marriage was falling apart. Similarly, Paul McCartney's relationship with Jane Asher was in a bad state, though both men were trying to repair their damaged relationships, while both George and Ringo were having doubts about the band that had made them famous. In George's case, he was feeling marginalised by John and Paul, his songs ignored or paid cursory attention, and there was less for him to do on the records as the group moved away from making guitar-based rock and roll music into the stranger areas of psychedelia. And Ringo, whose main memory of the recording of Sgt Pepper was of learning to play chess while the others went through the extensive overdubs that characterised that album, was starting to feel like his playing was deteriorating, and that as the only non-writer in the band he was on the outside to an extent. On top of that, the group were in the middle of a major plan to restructure their business. As part of their contract renegotiations with EMI at the beginning of 1967, it had been agreed that they would receive two million pounds -- roughly fifteen million pounds in today's money -- in unpaid royalties as a lump sum. If that had been paid to them as individuals, or through the company they owned, the Beatles Ltd, they would have had to pay the full top rate of tax on it, which as George had complained the previous year was over ninety-five percent. (In fact, he'd been slightly exaggerating the generosity of the UK tax system to the rich, as at that point the top rate of income tax was somewhere around ninety-seven and a half percent). But happily for them, a couple of years earlier the UK had restructured its tax laws and introduced a corporation tax, which meant that the profits of corporations were no longer taxed at the same high rate as income. So a new company had been set up, The Beatles & Co, and all the group's non-songwriting income was paid into the company. Each Beatle owned five percent of the company, and the other eighty percent was owned by a new partnership, a corporation that was soon renamed Apple Corps -- a name inspired by a painting that McCartney had liked by the artist Rene Magritte. In the early stages of Apple, it was very entangled with Nems, the company that was owned by Brian and Clive Epstein, and which was in the process of being sold to Robert Stigwood, though that sale fell through after Brian's death. The first part of Apple, Apple Publishing, had been set up in the summer of 1967, and was run by Terry Doran, a friend of Epstein's who ran a motor dealership -- most of the Apple divisions would be run by friends of the group rather than by people with experience in the industries in question. As Apple was set up during the point that Stigwood was getting involved with NEMS, Apple Publishing's initial offices were in the same building with, and shared staff with, two publishing companies that Stigwood owned, Dratleaf Music, who published Cream's songs, and Abigail Music, the Bee Gees' publishers. And indeed the first two songs published by Apple were copyrights that were gifted to the company by Stigwood -- "Listen to the Sky", a B-side by an obscure band called Sands: [Excerpt: Sands, "Listen to the Sky"] And "Outside Woman Blues", an arrangement by Eric Clapton of an old blues song by Blind Joe Reynolds, which Cream had copyrighted separately and released on Disraeli Gears: [Excerpt: Cream, "Outside Woman Blues"] But Apple soon started signing outside songwriters -- once Mike Berry, a member of Apple Publishing's staff, had sat McCartney down and explained to him what music publishing actually was, something he had never actually understood even though he'd been a songwriter for five years. Those songwriters, given that this was 1967, were often also performers, and as Apple Records had not yet been set up, Apple would try to arrange recording contracts for them with other labels. They started with a group called Focal Point, who got signed by badgering Paul McCartney to listen to their songs until he gave them Doran's phone number to shut them up: [Excerpt: Focal Point, "Sycamore Sid"] But the big early hope for Apple Publishing was a songwriter called George Alexander. Alexander's birth name had been Alexander Young, and he was the brother of George Young, who was a member of the Australian beat group The Easybeats, who'd had a hit with "Friday on My Mind": [Excerpt: The Easybeats, "Friday on My Mind"] His younger brothers Malcolm and Angus would go on to have a few hits themselves, but AC/DC wouldn't be formed for another five years. Terry Doran thought that Alexander should be a member of a band, because bands were more popular than solo artists at the time, and so he was placed with three former members of Tony Rivers and the Castaways, a Beach Boys soundalike group that had had some minor success. John Lennon suggested that the group be named Grapefruit, after a book he was reading by a conceptual artist of his acquaintance named Yoko Ono, and as Doran was making arrangements with Terry Melcher for a reciprocal publishing deal by which Melcher's American company would publish Apple songs in the US while Apple published songs from Melcher's company in the UK, it made sense for Melcher to also produce Grapefruit's first single, "Dear Delilah": [Excerpt: Grapefruit, "Dear Delilah"] That made number twenty-one in the UK when it came out in early 1968, on the back of publicity about Grapefruit's connection with the Beatles, but future singles by the band were much less successful, and like several other acts involved with Apple, they found that they were more hampered by the Beatles connection than helped. A few other people were signed to Apple Publishing early on, of whom the most notable was Jackie Lomax. Lomax had been a member of a minor Merseybeat group, the Undertakers, and after they had split up, he'd been signed by Brian Epstein with a new group, the Lomax Alliance, who had released one single, "Try as You May": [Excerpt: The Lomax Alliance, "Try As You May"] After Epstein's death, Lomax had plans to join another band, being formed by another Merseybeat musician, Chris Curtis, the former drummer of the Searchers. But after going to the Beatles to talk with them about them helping the new group financially, Lomax was persuaded by John Lennon to go solo instead. He may later have regretted that decision, as by early 1968 the people that Curtis had recruited for his new band had ditched him and were making a name for themselves as Deep Purple. Lomax recorded one solo single with funding from Stigwood, a cover version of a song by an obscure singer-songwriter, Jake Holmes, "Genuine Imitation Life": [Excerpt: Jackie Lomax, "Genuine Imitation Life"] But he was also signed to Apple Publishing as a songwriter. The Beatles had only just started laying out plans for Apple when Epstein died, and other than the publishing company one of the few things they'd agreed on was that they were going to have a film company, which was to be run by Denis O'Dell, who had been an associate producer on A Hard Day's Night and on How I Won The War, the Richard Lester film Lennon had recently starred in. A few days after Epstein's death, they had a meeting, in which they agreed that the band needed to move forward quickly if they were going to recover from Epstein's death. They had originally been planning on going to India with the Maharishi to study meditation, but they decided to put that off until the new year, and to press forward with a film project Paul had been talking about, to be titled Magical Mystery Tour. And so, on the fifth of September 1967, they went back into the recording studio and started work on a song of John's that was earmarked for the film, "I am the Walrus": [Excerpt: The Beatles, "I am the Walrus"] Magical Mystery Tour, the film, has a mixed reputation which we will talk about shortly, but one defence that Paul McCartney has always made of it is that it's the only place where you can see the Beatles performing "I am the Walrus". While the song was eventually relegated to a B-side, it's possibly the finest B-side of the Beatles' career, and one of the best tracks the group ever made. As with many of Lennon's songs from this period, the song was a collage of many different elements pulled from his environment and surroundings, and turned into something that was rather more than the sum of its parts. For its musical inspiration, Lennon pulled from, of all things, a police siren going past his house. (For those who are unfamiliar with what old British police sirens sounded like, as opposed to the ones in use for most of my lifetime or in other countries, here's a recording of one): [Excerpt: British police siren ca 1968] That inspired Lennon to write a snatch of lyric to go with the sound of the siren, starting "Mister city policeman sitting pretty". He had two other song fragments, one about sitting in the garden, and one about sitting on a cornflake, and he told Hunter Davies, who was doing interviews for his authorised biography of the group, “I don't know how it will all end up. Perhaps they'll turn out to be different parts of the same song.” But the final element that made these three disparate sections into a song was a letter that came from Stephen Bayley, a pupil at Lennon's old school Quarry Bank, who told him that the teachers at the school -- who Lennon always thought of as having suppressed his creativity -- were now analysing Beatles lyrics in their lessons. Lennon decided to come up with some nonsense that they couldn't analyse -- though as nonsensical as the finished song is, there's an underlying anger to a lot of it that possibly comes from Lennon thinking of his school experiences. And so Lennon asked his old schoolfriend Pete Shotton to remind him of a disgusting playground chant that kids used to sing in schools in the North West of England (and which they still sang with very minor variations at my own school decades later -- childhood folklore has a remarkably long life). That rhyme went: Yellow matter custard, green snot pie All mixed up with a dead dog's eye Slap it on a butty, nice and thick, And drink it down with a cup of cold sick Lennon combined some parts of this with half-remembered fragments of Lewis Carrol's The Walrus and the Carpenter, and with some punning references to things that were going on in his own life and those of his friends -- though it's difficult to know exactly which of the stories attached to some of the more incomprehensible bits of the lyrics are accurate. The story that the line "I am the eggman" is about a sexual proclivity of Eric Burdon of the Animals seems plausible, while the contention by some that the phrase "semolina pilchard" is a reference to Sgt Pilcher, the corrupt policeman who had arrested three of the Rolling Stones, and would later arrest Lennon, on drugs charges, seems less likely. The track is a masterpiece of production, but the release of the basic take on Anthology 2 in 1996 showed that the underlying performance, before George Martin worked his magic with the overdubs, is still a remarkable piece of work: [Excerpt: The Beatles, "I am the Walrus (Anthology 2 version)"] But Martin's arrangement and production turned the track from a merely very good track into a masterpiece. The string arrangement, very much in the same mould as that for "Strawberry Fields Forever" but giving a very different effect with its harsh cello glissandi, is the kind of thing one expects from Martin, but there's also the chanting of the Mike Sammes Singers, who were more normally booked for sessions like Englebert Humperdinck's "The Last Waltz": [Excerpt: Engelbert Humperdinck, "The Last Waltz"] But here were instead asked to imitate the sound of the strings, make grunting noises, and generally go very far out of their normal comfort zone: [Excerpt: The Beatles, "I am the Walrus"] But the most fascinating piece of production in the entire track is an idea that seems to have been inspired by people like John Cage -- a live feed of a radio being tuned was played into the mono mix from about the halfway point, and whatever was on the radio at the time was captured: [Excerpt: The Beatles, "I am the Walrus"] This is also why for many decades it was impossible to have a true stereo mix of the track -- the radio part was mixed directly into the mono mix, and it wasn't until the 1990s that someone thought to track down a copy of the original radio broadcasts and recreate the process. In one of those bits of synchronicity that happen more often than you would think when you're creating aleatory art, and which are why that kind of process can be so appealing, one bit of dialogue from the broadcast of King Lear that was on the radio as the mixing was happening was *perfectly* timed: [Excerpt: The Beatles, "I am the Walrus"] After completing work on the basic track for "I am the Walrus", the group worked on two more songs for the film, George's "Blue Jay Way" and a group-composed twelve-bar blues instrumental called "Flying", before starting production. Magical Mystery Tour, as an idea, was inspired in equal parts by Ken Kesey's Merry Pranksters, the collective of people we talked about in the episode on the Grateful Dead who travelled across the US extolling the virtues of psychedelic drugs, and by mystery tours, a British working-class tradition that has rather fallen out of fashion in the intervening decades. A mystery tour would generally be put on by a coach-hire company, and would be a day trip to an unannounced location -- though the location would in fact be very predictable, and would be a seaside town within a couple of hours' drive of its starting point. In the case of the ones the Beatles remembered from their own childhoods, this would be to a coastal town in Lancashire or Wales, like Blackpool, Rhyl, or Prestatyn. A coachload of people would pay to be driven to this random location, get very drunk and have a singsong on the bus, and spend a day wherever they were taken. McCartney's plan was simple -- they would gather a group of passengers and replicate this experience over the course of several days, and film whatever went on, but intersperse that with more planned out sketches and musical numbers. For this reason, along with the Beatles and their associates, the cast included some actors found through Spotlight and some of the group's favourite performers, like the comedian Nat Jackley (whose comedy sequence directed by John was cut from the final film) and the surrealist poet/singer/comedian Ivor Cutler: [Excerpt: Ivor Cutler, "I'm Going in a Field"] The film also featured an appearance by a new band who would go on to have great success over the next year, the Bonzo Dog Doo-Dah Band. They had recorded their first single in Abbey Road at the same time as the Beatles were recording Revolver, but rather than being progressive psychedelic rock, it had been a remake of a 1920s novelty song: [Excerpt: The Bonzo Dog Doo-Dah Band, "My Brother Makes the Noises For the Talkies"] Their performance in Magical Mystery Tour was very different though -- they played a fifties rock pastiche written by band leaders Vivian Stanshall and Neil Innes while a stripper took off her clothes. While several other musical sequences were recorded for the film, including one by the band Traffic and one by Cutler, other than the Beatles tracks only the Bonzos' song made it into the finished film: [Excerpt: The Bonzo Dog Doo-Dah Band, "Death Cab for Cutie"] That song, thirty years later, would give its name to a prominent American alternative rock band. Incidentally the same night that Magical Mystery Tour was first broadcast was also the night that the Bonzo Dog Doo-Dah Band first appeared on a TV show, Do Not Adjust Your Set, which featured three future members of the Monty Python troupe -- Eric Idle, Michael Palin, and Terry Jones. Over the years the careers of the Bonzos, the Pythons, and the Beatles would become increasingly intertwined, with George Harrison in particular striking up strong friendships and working relationships with Bonzos Neil Innes and "Legs" Larry Smith. The filming of Magical Mystery Tour went about as well as one might expect from a film made by four directors, none of whom had any previous filmmaking experience, and none of whom had any business knowledge. The Beatles were used to just turning up and having things magically done for them by other people, and had no real idea of the infrastructure challenges that making a film, even a low-budget one, actually presents, and ended up causing a great deal of stress to almost everyone involved. The completed film was shown on TV on Boxing Day 1967 to general confusion and bemusement. It didn't help that it was originally broadcast in black and white, and so for example the scene showing shifting landscapes (outtake footage from Stanley Kubrick's Dr. Strangelove, tinted various psychedelic colours) over the "Flying" music, just looked like grey fuzz. But also, it just wasn't what people were expecting from a Beatles film. This was a ramshackle, plotless, thing more inspired by Andy Warhol's underground films than by the kind of thing the group had previously appeared in, and it was being presented as Christmas entertainment for all the family. And to be honest, it's not even a particularly good example of underground filmmaking -- though it looks like a masterpiece when placed next to something like the Bee Gees' similar effort, Cucumber Castle. But there are enough interesting sequences in there for the project not to be a complete failure -- and the deleted scenes on the DVD release, including the performances by Cutler and Traffic, and the fact that the film was edited down from ten hours to fifty-two minutes, makes one wonder if there's a better film that could be constructed from the original footage. Either way, the reaction to the film was so bad that McCartney actually appeared on David Frost's TV show the next day to defend it and, essentially, apologise. While they were editing the film, the group were also continuing to work in the studio, including on two new McCartney songs, "The Fool on the Hill", which was included in Magical Mystery Tour, and "Hello Goodbye", which wasn't included on the film's soundtrack but was released as the next single, with "I Am the Walrus" as the B-side: [Excerpt: The Beatles, "Hello Goodbye"] Incidentally, in the UK the soundtrack to Magical Mystery Tour was released as a double-EP rather than as an album (in the US, the group's recent singles and B-sides were added to turn it into a full-length album, which is how it's now generally available). "I Am the Walrus" was on the double-EP as well as being on the single's B-side, and the double-EP got to number two on the singles charts, meaning "I am the Walrus" was on the records at number one and number two at the same time. Before it became obvious that the film, if not the soundtrack, was a disaster, the group held a launch party on the twenty-first of December, 1967. The band members went along in fancy dress, as did many of the cast and crew -- the Bonzo Dog Doo-Dah Band performed at the party. Mike Love and Bruce Johnston of the Beach Boys also turned up at the party, and apparently at one point jammed with the Bonzos, and according to some, but not all, reports, a couple of the Beatles joined in as well. Love and Johnston had both just met the Maharishi for the first time a couple of days earlier, and Love had been as impressed as the Beatles were, and it may have been at this party that the group mentioned to Love that they would soon be going on a retreat in India with the guru -- a retreat that was normally meant for training TM instructors, but this time seemed to be more about getting celebrities involved. Love would also end up going with them. That party was also the first time that Cynthia Lennon had an inkling that John might not be as faithful to her as she previously supposed. John had always "joked" about being attracted to George Harrison's wife, Patti, but this time he got a little more blatant about his attraction than he ever had previously, to the point that he made Cynthia cry, and Cynthia's friend, the pop star Lulu, decided to give Lennon a very public dressing-down for his cruelty to his wife, a dressing-down that must have been a sight to behold, as Lennon was dressed as a Teddy boy while Lulu was in a Shirley Temple costume. It's a sign of how bad the Lennons' marriage was at this point that this was the second time in a two-month period where Cynthia had ended up crying because of John at a film launch party and been comforted by a female pop star. In October, Cilla Black had held a party to celebrate the belated release of John's film How I Won the War, and during the party Georgie Fame had come up to Black and said, confused, "Cynthia Lennon is hiding in your wardrobe". Black went and had a look, and Cynthia explained to her “I'm waiting to see how long it is before John misses me and comes looking for me.” Black's response had been “You'd better face it, kid—he's never gonna come.” Also at the Magical Mystery Tour party was Lennon's father, now known as Freddie Lennon, and his new nineteen-year-old fiancee. While Hunter Davis had been researching the Beatles' biography, he'd come across some evidence that the version of Freddie's attitude towards John that his mother's side of the family had always told him -- that Freddie had been a cruel and uncaring husband who had not actually wanted to be around his son -- might not be the whole of the truth, and that the mother who he had thought of as saintly might also have had some part to play in their marriage breaking down and Freddie not seeing his son for twenty years. The two had made some tentative attempts at reconciliation, and indeed Freddie would even come and live with John for a while, though within a couple of years the younger Lennon's heart would fully harden against his father again. Of course, the things that John always resented his father for were pretty much exactly the kind of things that Lennon himself was about to do. It was around this time as well that Derek Taylor gave the Beatles copies of the debut album by a young singer/songwriter named Harry Nilsson. Nilsson will be getting his own episode down the line, but not for a couple of years at my current rates, so it's worth bringing that up here, because that album became a favourite of all the Beatles, and would have a huge influence on their songwriting for the next couple of years, and because one song on the album, "1941", must have resonated particularly deeply with Lennon right at this moment -- an autobiographical song by Nilsson about how his father had left him and his mother when he was a small boy, and about his own fear that, as his first marriage broke down, he was repeating the pattern with his stepson Scott: [Excerpt: Nilsson, "1941"] The other major event of December 1967, rather overshadowed by the Magical Mystery Tour disaster the next day, was that on Christmas Day Paul McCartney and Jane Asher announced their engagement. A few days later, George Harrison flew to India. After John and Paul had had their outside film projects -- John starring in How I Won The War and Paul doing the soundtrack for The Family Way -- the other two Beatles more or less simultaneously did their own side project films, and again one acted while the other did a soundtrack. Both of these projects were in the rather odd subgenre of psychedelic shambolic comedy film that sprang up in the mid sixties, a subgenre that produced a lot of fascinating films, though rather fewer good ones. Indeed, both of them were in the subsubgenre of shambolic psychedelic *sex* comedies. In Ringo's case, he had a small role in the film Candy, which was based on the novel we mentioned in the last episode, co-written by Terry Southern, which was in itself a loose modern rewriting of Voltaire's Candide. Unfortunately, like such other classics of this subgenre as Anthony Newley's Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness?, Candy has dated *extremely* badly, and unless you find repeated scenes of sexual assault and rape, ethnic stereotypes, and jokes about deformity and disfigurement to be an absolute laugh riot, it's not a film that's worth seeking out, and Starr's part in it is not a major one. Harrison's film was of the same basic genre -- a film called Wonderwall about a mad scientist who discovers a way to see through the walls of his apartment, and gets to see a photographer taking sexy photographs of a young woman named Penny Lane, played by Jane Birkin: [Excerpt: Some Wonderwall film dialogue ripped from the Blu-Ray] Wonderwall would, of course, later inspire the title of a song by Oasis, and that's what the film is now best known for, but it's a less-unwatchable film than Candy, and while still problematic it's less so. Which is something. Harrison had been the Beatle with least involvement in Magical Mystery Tour -- McCartney had been the de facto director, Starr had been the lead character and the only one with much in the way of any acting to do, and Lennon had written the film's standout scene and its best song, and had done a little voiceover narration. Harrison, by contrast, barely has anything to do in the film apart from the one song he contributed, "Blue Jay Way", and he said of the project “I had no idea what was happening and maybe I didn't pay enough attention because my problem, basically, was that I was in another world, I didn't really belong; I was just an appendage.” He'd expressed his discomfort to his friend Joe Massot, who was about to make his first feature film. Massot had got to know Harrison during the making of his previous film, Reflections on Love, a mostly-silent short which had starred Harrison's sister-in-law Jenny Boyd, and which had been photographed by Robert Freeman, who had been the photographer for the Beatles' album covers from With the Beatles through Rubber Soul, and who had taken most of the photos that Klaus Voorman incorporated into the cover of Revolver (and whose professional association with the Beatles seemed to come to an end around the same time he discovered that Lennon had been having an affair with his wife). Massot asked Harrison to write the music for the film, and told Harrison he would have complete free rein to make whatever music he wanted, so long as it fit the timing of the film, and so Harrison decided to create a mixture of Western rock music and the Indian music he loved. Harrison started recording the music at the tail end of 1967, with sessions with several London-based Indian musicians and John Barham, an orchestrator who had worked with Ravi Shankar on Shankar's collaborations with Western musicians, including the Alice in Wonderland soundtrack we talked about in the "All You Need is Love" episode. For the Western music, he used the Remo Four, a Merseybeat group who had been on the scene even before the Beatles, and which contained a couple of classmates of Paul McCartney, but who had mostly acted as backing musicians for other artists. They'd backed Johnny Sandon, the former singer with the Searchers, on a couple of singles, before becoming the backing band for Tommy Quickly, a NEMS artist who was unsuccessful despite starting his career with a Lennon/McCartney song, "Tip of My Tongue": [Excerpt: Tommy Quickly, "Tip of My Tongue"] The Remo Four would later, after a lineup change, become Ashton, Gardner and Dyke, who would become one-hit wonders in the seventies, and during the Wonderwall sessions they recorded a song that went unreleased at the time, and which would later go on to be rerecorded by Ashton, Gardner, and Dyke. "In the First Place" also features Harrison on backing vocals and possibly guitar, and was not submitted for the film because Harrison didn't believe that Massot wanted any vocal tracks, but the recording was later discovered and used in a revised director's cut of the film in the nineties: [Excerpt: The Remo Four, "In the First Place"] But for the most part the Remo Four were performing instrumentals written by Harrison. They weren't the only Western musicians performing on the sessions though -- Peter Tork of the Monkees dropped by these sessions and recorded several short banjo solos, which were used in the film soundtrack but not in the soundtrack album (presumably because Tork was contracted to another label): [Excerpt: Peter Tork, "Wonderwall banjo solo"] Another musician who was under contract to another label was Eric Clapton, who at the time was playing with The Cream, and who vaguely knew Harrison and so joined in for the track "Ski-ing", playing lead guitar under the cunning, impenetrable, pseudonym "Eddie Clayton", with Harrison on sitar, Starr on drums, and session guitarist Big Jim Sullivan on bass: [Excerpt: George Harrison, "Ski-ing"] But the bulk of the album was recorded in EMI's studios in the city that is now known as Mumbai but at the time was called Bombay. The studio facilities in India had up to that point only had a mono tape recorder, and Bhaskar Menon, one of the top executives at EMI's Indian division and later the head of EMI music worldwide, personally brought the first stereo tape recorder to the studio to aid in Harrison's recording. The music was all composed by Harrison and performed by the Indian musicians, and while Harrison was composing in an Indian mode, the musicians were apparently fascinated by how Western it sounded to them: [Excerpt: George Harrison, "Microbes"] While he was there, Harrison also got the instrumentalists to record another instrumental track, which wasn't to be used for the film: [Excerpt: George Harrison, "The Inner Light (instrumental)"] That track would, instead, become part of what was to be Harrison's first composition to make a side of a Beatles single. After John and George had appeared on the David Frost show talking about the Maharishi, in September 1967, George had met a lecturer in Sanskrit named Juan Mascaró, who wrote to Harrison enclosing a book he'd compiled of translations of religious texts, telling him he'd admired "Within You Without You" and thought it would be interesting if Harrison set something from the Tao Te Ching to music. He suggested a text that, in his translation, read: "Without going out of my door I can know all things on Earth Without looking out of my window I can know the ways of heaven For the farther one travels, the less one knows The sage, therefore Arrives without travelling Sees all without looking Does all without doing" Harrison took that text almost verbatim, though he created a second verse by repeating the first few lines with "you" replacing "I" -- concerned that listeners might think he was just talking about himself, and wouldn't realise it was a more general statement -- and he removed the "the sage, therefore" and turned the last few lines into imperative commands rather than declarative statements: [Excerpt: The Beatles, "The Inner Light"] The song has come in for some criticism over the years as being a little Orientalist, because in critics' eyes it combines Chinese philosophy with Indian music, as if all these things are equally "Eastern" and so all the same really. On the other hand there's a good argument that an English songwriter taking a piece of writing written in Chinese and translated into English by a Spanish man and setting it to music inspired by Indian musical modes is a wonderful example of cultural cross-pollination. As someone who's neither Chinese nor Indian I wouldn't want to take a stance on it, but clearly the other Beatles were impressed by it -- they put it out as the B-side to their next single, even though the only Beatles on it are Harrison and McCartney, with the latter adding a small amount of harmony vocal: [Excerpt: The Beatles, "The Inner Light"] And it wasn't because the group were out of material. They were planning on going to Rishikesh to study with the Maharishi, and wanted to get a single out for release while they were away, and so in one week they completed the vocal overdubs on "The Inner Light" and recorded three other songs, two by John and one by Paul. All three of the group's songwriters brought in songs that were among their best. John's first contribution was a song whose lyrics he later described as possibly the best he ever wrote, "Across the Universe". He said the lyrics were “purely inspirational and were given to me as boom! I don't own it, you know; it came through like that … Such an extraordinary meter and I can never repeat it! It's not a matter of craftsmanship, it wrote itself. It drove me out of bed. I didn't want to write it … It's like being possessed, like a psychic or a medium.” But while Lennon liked the song, he was never happy with the recording of it. They tried all sorts of things to get the sound he heard in his head, including bringing in some fans who were hanging around outside to sing backing vocals. He said of the track "I was singing out of tune and instead of getting a decent choir, we got fans from outside, Apple Scruffs or whatever you call them. They came in and were singing all off-key. Nobody was interested in doing the tune originally.” [Excerpt: The Beatles, "Across the Universe"] The "jai guru deva" chorus there is the first reference to the teachings of the Maharishi in one of the Beatles' records -- Guru Dev was the Maharishi's teacher, and the phrase "Jai guru dev" is a Sanskrit one which I've seen variously translated as "victory to the great teacher", and "hail to the greatness within you". Lennon would say shortly before his death “The Beatles didn't make a good record out of it. I think subconsciously sometimes we – I say ‘we' though I think Paul did it more than the rest of us – Paul would sort of subconsciously try and destroy a great song … Usually we'd spend hours doing little detailed cleaning-ups of Paul's songs, when it came to mine, especially if it was a great song like ‘Strawberry Fields' or ‘Across The Universe', somehow this atmosphere of looseness and casualness and experimentation would creep in … It was a _lousy_ track of a great song and I was so disappointed by it …The guitars are out of tune and I'm singing out of tune because I'm psychologically destroyed and nobody's supporting me or helping me with it, and the song was never done properly.” Of course, this is only Lennon's perception, and it's one that the other participants would disagree with. George Martin, in particular, was always rather hurt by the implication that Lennon's songs had less attention paid to them, and he would always say that the problem was that Lennon in the studio would always say "yes, that's great", and only later complain that it hadn't been what he wanted. No doubt McCartney did put in more effort on his own songs than on Lennon's -- everyone has a bias towards their own work, and McCartney's only human -- but personally I suspect that a lot of the problem comes down to the two men having very different personalities. McCartney had very strong ideas about his own work and would drive the others insane with his nitpicky attention to detail. Lennon had similarly strong ideas, but didn't have the attention span to put the time and effort in to force his vision on others, and didn't have the technical knowledge to express his ideas in words they'd understand. He expected Martin and the other Beatles to work miracles, and they did -- but not the miracles he would have worked. That track was, rather than being chosen for the next single, given to Spike Milligan, who happened to be visiting the studio and was putting together an album for the environmental charity the World Wildlife Fund. The album was titled "No One's Gonna Change Our World": [Excerpt: The Beatles, "Across the Universe"] That track is historic in another way -- it would be the last time that George Harrison would play sitar on a Beatles record, and it effectively marks the end of the period of psychedelia and Indian influence that had started with "Norwegian Wood" three years earlier, and which many fans consider their most creative period. Indeed, shortly after the recording, Harrison would give up the sitar altogether and stop playing it. He loved sitar music as much as he ever had, and he still thought that Indian classical music spoke to him in ways he couldn't express, and he continued to be friends with Ravi Shankar for the rest of his life, and would only become more interested in Indian religious thought. But as he spent time with Shankar he realised he would never be as good on the sitar as he hoped. He said later "I thought, 'Well, maybe I'm better off being a pop singer-guitar-player-songwriter – whatever-I'm-supposed-to-be' because I've seen a thousand sitar-players in India who are twice as better as I'll ever be. And only one of them Ravi thought was going to be a good player." We don't have a precise date for when it happened -- I suspect it was in June 1968, so a few months after the "Across the Universe" recording -- but Shankar told Harrison that rather than try to become a master of a music that he hadn't encountered until his twenties, perhaps he should be making the music that was his own background. And as Harrison put it "I realised that was riding my bike down a street in Liverpool and hearing 'Heartbreak Hotel' coming out of someone's house.": [Excerpt: Elvis Presley, "Heartbreak Hotel"] In early 1968 a lot of people seemed to be thinking along the same lines, as if Christmas 1967 had been the flick of a switch and instead of whimsy and ornamentation, the thing to do was to make music that was influenced by early rock and roll. In the US the Band and Bob Dylan were making music that was consciously shorn of all studio experimentation, while in the UK there was a revival of fifties rock and roll. In April 1968 both "Peggy Sue" and "Rock Around the Clock" reentered the top forty in the UK, and the Who were regularly including "Summertime Blues" in their sets. Fifties nostalgia, which would make occasional comebacks for at least the next forty years, was in its first height, and so it's not surprising that Paul McCartney's song, "Lady Madonna", which became the A-side of the next single, has more than a little of the fifties about it. Of course, the track isn't *completely* fifties in its origins -- one of the inspirations for the track seems to have been the Rolling Stones' then-recent hit "Let's Spend The Night Together": [Excerpt: The Rolling Stones, "Let's Spend the Night Together"] But the main source for the song's music -- and for the sound of the finished record -- seems to have been Johnny Parker's piano part on Humphrey Lyttleton's "Bad Penny Blues", a hit single engineered by Joe Meek in the fifties: [Excerpt: Humphrey Lyttleton, "Bad Penny Blues"] That song seems to have been on the group's mind for a while, as a working title for "With a Little Help From My Friends" had at one point been "Bad Finger Blues" -- a title that would later give the name to a band on Apple. McCartney took Parker's piano part as his inspiration, and as he later put it “‘Lady Madonna' was me sitting down at the piano trying to write a bluesy boogie-woogie thing. I got my left hand doing an arpeggio thing with the chord, an ascending boogie-woogie left hand, then a descending right hand. I always liked that, the  juxtaposition of a line going down meeting a line going up." [Excerpt: The Beatles, "Lady Madonna"] That idea, incidentally, is an interesting reversal of what McCartney had done on "Hello, Goodbye", where the bass line goes down while the guitar moves up -- the two lines moving away from each other: [Excerpt: The Beatles, "Hello Goodbye"] Though that isn't to say there's no descending bass in "Lady Madonna" -- the bridge has a wonderful sequence where the bass just *keeps* *descending*: [Excerpt: The Beatles, "Lady Madonna"] Lyrically, McCartney was inspired by a photo in National Geographic of a woman in Malaysia, captioned “Mountain Madonna: with one child at her breast and another laughing into her face, sees her quality of life threatened.” But as he put it “The people I was brought up amongst were often Catholic; there are lots of Catholics in Liverpool because of the Irish connection and they are often religious. When they have a baby I think they see a big connection between themselves and the Virgin Mary with her baby. So the original concept was the Virgin Mary but it quickly became symbolic of every woman; the Madonna image but as applied to ordinary working class woman. It's really a tribute to the mother figure, it's a tribute to women.” Musically though, the song was more a tribute to the fifties -- while the inspiration had been a skiffle hit by Humphrey Lyttleton, as soon as McCartney started playing it he'd thought of Fats Domino, and the lyric reflects that to an extent -- just as Domino's "Blue Monday" details the days of the week for a weary working man who only gets to enjoy himself on Saturday night, "Lady Madonna"'s lyrics similarly look at the work a mother has to do every day -- though as McCartney later noted  "I was writing the words out to learn it for an American TV show and I realised I missed out Saturday ... So I figured it must have been a real night out." The vocal was very much McCartney doing a Domino impression -- something that wasn't lost on Fats, who cut his own version of the track later that year: [Excerpt: Fats Domino, "Lady Madonna"] The group were so productive at this point, right before the journey to India, that they actually cut another song *while they were making a video for "Lady Madonna"*. They were booked into Abbey Road to film themselves performing the song so it could be played on Top of the Pops while they were away, but instead they decided to use the time to cut a new song -- John had a partially-written song, "Hey Bullfrog", which was roughly the same tempo as "Lady Madonna", so they could finish that up and then re-edit the footage to match the record. The song was quickly finished and became "Hey Bulldog": [Excerpt: The Beatles, "Hey Bulldog"] One of Lennon's best songs from this period, "Hey Bulldog" was oddly chosen only to go on the soundtrack of Yellow Submarine. Either the band didn't think much of it because it had come so easily, or it was just assigned to the film because they were planning on being away for several months and didn't have any other projects they were working on. The extent of the group's contribution to the film was minimal – they were not very hands-on, and the film, which was mostly done as an attempt to provide a third feature film for their United Artists contract without them having to do any work, was made by the team that had done the Beatles cartoon on American TV. There's some evidence that they had a small amount of input in the early story stages, but in general they saw the cartoon as an irrelevance to them -- the only things they contributed were the four songs "All Together Now", "It's All Too Much", "Hey Bulldog" and "Only a Northern Song", and a brief filmed appearance for the very end of the film, recorded in January: [Excerpt: Yellow Submarine film end] McCartney also took part in yet another session in early February 1968, one produced by Peter Asher, his fiancee's brother, and former singer with Peter and Gordon. Asher had given up on being a pop star and was trying to get into the business side of music, and he was starting out as a producer, producing a single by Paul Jones, the former lead singer of Manfred Mann. The A-side of the single, "And the Sun Will Shine", was written by the Bee Gees, the band that Robert Stigwood was managing: [Excerpt: Paul Jones, "And the Sun Will Shine"] While the B-side was an original by Jones, "The Dog Presides": [Excerpt: Paul Jones, "The Dog Presides"] Those tracks featured two former members of the Yardbirds, Jeff Beck and Paul Samwell-Smith, on guitar and bass, and Nicky Hopkins on piano. Asher asked McCartney to play drums on both sides of the single, saying later "I always thought he was a great, underrated drummer." McCartney was impressed by Asher's production, and asked him to get involved with the new Apple Records label that would be set up when the group returned from India. Asher eventually became head of A&R for the label. And even before "Lady Madonna" was mixed, the Beatles were off to India. Mal Evans, their roadie, went ahead with all their luggage on the fourteenth of February, so he could sort out transport for them on the other end, and then John and George followed on the fifteenth, with their wives Pattie and Cynthia and Pattie's sister Jenny (John and Cynthia's son Julian had been left with his grandmother while they went -- normally Cynthia wouldn't abandon Julian for an extended period of time, but she saw the trip as a way to repair their strained marriage). Paul and Ringo followed four days later, with Ringo's wife Maureen and Paul's fiancee Jane Asher. The retreat in Rishikesh was to become something of a celebrity affair. Along with the Beatles came their friend the singer-songwriter Donovan, and Donovan's friend and songwriting partner, whose name I'm not going to say here because it's a slur for Romani people, but will be known to any Donovan fans. Donovan at this point was also going through changes. Like the Beatles, he was largely turning away from drug use and towards meditation, and had recently written his hit single "There is a Mountain" based around a saying from Zen Buddhism: [Excerpt: Donovan, "There is a Mountain"] That was from his double-album A Gift From a Flower to a Garden, which had come out in December 1967. But also like John and Paul he was in the middle of the breakdown of a long-term relationship, and while he would remain with his then-partner until 1970, and even have another child with her, he was secretly in love with another woman. In fact he was secretly in love with two other women. One of them, Brian Jones' ex-girlfriend Linda, had moved to LA, become the partner of the singer Gram Parsons, and had appeared in the documentary You Are What You Eat with the Band and Tiny Tim. She had fallen out of touch with Donovan, though she would later become his wife. Incidentally, she had a son to Brian Jones who had been abandoned by his rock-star father -- the son's name is Julian. The other woman with whom Donovan was in love was Jenny Boyd, the sister of George Harrison's wife Pattie.  Jenny at the time was in a relationship with Alexis Mardas, a TV repairman and huckster who presented himself as an electronics genius to the Beatles, who nicknamed him Magic Alex, and so she was unavailable, but Donovan had written a song about her, released as a single just before they all went to Rishikesh: [Excerpt: Donovan, "Jennifer Juniper"] Donovan considered himself and George Harrison to be on similar spiritual paths and called Harrison his "spirit-brother", though Donovan was more interested in Buddhism, which Harrison considered a corruption of the more ancient Hinduism, and Harrison encouraged Donovan to read Autobiography of a Yogi. It's perhaps worth noting that Donovan's father had a different take on the subject though, saying "You're not going to study meditation in India, son, you're following that wee lassie Jenny" Donovan and his friend weren't the only other celebrities to come to Rishikesh. The actor Mia Farrow, who had just been through a painful divorce from Frank Sinatra, and had just made Rosemary's Baby, a horror film directed by Roman Polanski with exteriors shot at the Dakota building in New York, arrived with her sister Prudence. Also on the trip was Paul Horn, a jazz saxophonist who had played with many of the greats of jazz, not least of them Duke Ellington, whose Sweet Thursday Horn had played alto sax on: [Excerpt: Duke Ellington, "Zweet Zursday"] Horn was another musician who had been inspired to investigate Indian spirituality and music simultaneously, and the previous year he had recorded an album, "In India," of adaptations of ragas, with Ravi Shankar and Alauddin Khan: [Excerpt: Paul Horn, "Raga Vibhas"] Horn would go on to become one of the pioneers of what would later be termed "New Age" music, combining jazz with music from various non-Western traditions. Horn had also worked as a session musician, and one of the tracks he'd played on was "I Know There's an Answer" from the Beach Boys' Pet Sounds album: [Excerpt: The Beach Boys, "I Know There's an Answer"] Mike Love, who co-wrote that track and is one of the lead singers on it, was also in Rishikesh. While as we'll see not all of the celebrities on the trip would remain practitioners of Transcendental Meditation, Love would be profoundly affected by the trip, and remains a vocal proponent of TM to this day. Indeed, his whole band at the time were heavily into TM. While Love was in India, the other Beach Boys were working on the Friends album without him -- Love only appears on four tracks on that album -- and one of the tracks they recorded in his absence was titled "Transcendental Meditation": [Excerpt: The Beach Boys, "Transcendental Meditation"] But the trip would affect Love's songwriting, as it would affect all of the musicians there. One of the few songs on the Friends album on which Love appears is "Anna Lee, the Healer", a song which is lyrically inspired by the trip in the most literal sense, as it's about a masseuse Love met in Rishikesh: [Excerpt: The Beach Boys, "Anna Lee, the Healer"] The musicians in the group all influenced and inspired each other as is likely to happen in such circumstances. Sometimes, it would be a matter of trivial joking, as when the Beatles decided to perform an off-the-cuff song about Guru Dev, and did it in the Beach Boys style: [Excerpt: The Beatles, "Spiritual Regeneration"] And that turned partway through into a celebration of Love for his birthday: [Excerpt: The Beatles, "Spiritual Regeneration"] Decades later, Love would return the favour, writing a song about Harrison and their time together in Rishikesh. Like Donovan, Love seems to have considered Harrison his "spiritual brother", and he titled the song "Pisces Brothers": [Excerpt: Mike Love, "Pisces Brothers"] The musicians on the trip were also often making suggestions to each other about songs that would become famous for them. The musicians had all brought acoustic guitars, apart obviously from Ringo, who got a set of tabla drums when George ordered some Indian instruments to be delivered. George got a sitar, as at this point he hadn't quite given up on the instrument, and he gave Donovan a tamboura. Donovan started playing a melody on the tamboura, which is normally a drone instrument, inspired by the Scottish folk music he had grown up with, and that became his "Hurdy-Gurdy Man": [Excerpt: Donovan, "Hurdy Gurdy Man"] Harrison actually helped him with the song, writing a final verse inspired by the Maharishi's teachings, but in the studio Donovan's producer Mickie Most told him to cut the verse because the song was overlong, which apparently annoyed Harrison. Donovan includes that verse in his live performances of the song though -- usually while doing a fairly terrible impersonation of Harrison: [Excerpt: Donovan, "Hurdy Gurdy Man (live)"] And similarly, while McCartney was working on a song pastiching Chuck Berry and the Beach Boys, but singing about the USSR rather than the USA, Love suggested to him that for a middle-eight he might want to sing about the girls in the various Soviet regions: [Excerpt: The Beatles, "Back in the USSR"] As all the guitarists on the retreat only had acoustic instruments, they were very keen to improve their acoustic playing, and they turned to Donovan, who unlike the rest of them was primarily an acoustic player, and one from a folk background. Donovan taught them the rudiments of Travis picking, the guitar style we talked about way back in the episodes on the Everly Brothers, as well as some of the tunings that had been introduced to British folk music by Davey Graham, giving them a basic grounding in the principles of English folk-baroque guitar, a style that had developed over the previous few years. Donovan has said in his autobiography that Lennon picked the technique up quickly (and that Harrison had already learned Travis picking from Chet Atkins records) but that McCartney didn't have the application to learn the style, though he picked up bits. That seems very unlike anything else I've read anywhere about Lennon and McCartney -- no-one has ever accused Lennon of having a surfeit of application -- and reading Donovan's book he seems to dislike McCartney and like Lennon and Harrison, so possibly that enters into it. But also, it may just be that Lennon was more receptive to Donovan's style at the time. According to McCartney, even before going to Rishikesh Lennon had been in a vaguely folk-music and country mode, and the small number of tapes he'd brought with him to Rishikesh included Buddy Holly, Dylan, and the progressive folk band The Incredible String Band, whose music would be a big influence on both Lennon and McCartney for the next year: [Excerpt: The Incredible String Band, "First Girl I Loved"] According to McCartney Lennon also brought "a tape the singer Jake Thackray had done for him... He was one of the people we bumped into at Abbey Road. John liked his stuff, which he'd heard on television. Lots of wordplay and very suggestive, so very much up John's alley. I was fascinated by his unusual guitar style. John did ‘Happiness Is A Warm Gun' as a Jake Thackray thing at one point, as I recall.” Thackray was a British chansonnier, who sang sweetly poignant but also often filthy songs about Yorkshire life, and his humour in particular will have appealed to Lennon. There's a story of Lennon meeting Thackray in Abbey Road and singing the whole of Thackray's song "The Statues", about two drunk men fighting a male statue to defend the honour of a female statue, to him: [Excerpt: Jake Thackray, "The Statues"] Given this was the music that Lennon was listening to, it's unsurprising that he was more receptive to Donovan's lessons, and the new guitar style he learned allowed him to expand his songwriting, at precisely the same time he was largely clean of drugs for the first time in several years, and he started writing some of the best songs he would ever write, often using these new styles: [Excerpt: The Beatles, "Julia"] That song is about Lennon's dead mother -- the first time he ever addressed her directly in a song, though  it would be far from the last -- but it's also about someone else. That phrase "Ocean child" is a direct translation of the Japanese name "Yoko". We've talked about Yoko Ono a bit in recent episodes, and even briefly in a previous Beatles episode, but it's here that she really enters the story of the Beatles. Unfortunately, exactly *how* her relationship with John Lennon, which was to become one of the great legendary love stories in rock and roll history, actually started is the subject of some debate. Both of them were married when they first got together, and there have also been suggestions that Ono was more interested in McCartney than in Lennon at first -- suggestions which everyone involved has denied, and those denials have the ring of truth about them, but if that was the case it would also explain some of Lennon's more perplexing behaviour over the next year. By all accounts there was a certain amount of finessing of the story th