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Lacroy “Atlas” Nixon hopes his work can get students involved in poetry and bolster a new generation of artists.
Quina Aragon is an author, editor, and spoken word artist residing in Orlando, FL, with her husband and daughter. They are members of New Creation Fellowship. She is the author of the children's book trilogy—Love Made, Love Gave, and Love Can. She is also the author of Love Has a Story, which invites you to explore God's love as it has existed and moved throughout (and before) time, and how it intends to transform your own life story. It is biblical theology, meets personal story work, meets your local coffee shop poet. Aragon planned on Love Has a Story being a ten-month writing project, but it turned into a much bigger story. Beccome a Patreon Supporter What's a Women Worth? spoken word by Quina Aragon
You feeling this episode? Send us a text!Pt 1/7. In this episode we start our "Love Through Stages" series. Let's take it all back to the beginning of your relationship. First dates till the making it "official" stage. How were you when it was time to get ready? Were you the one who had everything laid out or just picked out something the day of? Do you remember how the first conversation went? What did the day look like as it progressed? I'm not going to hold you. Tune in now!Support the show
Renda's artistic expression is deeply rooted in his background as a Spoken Word and Slam Poet, with a central theme that highlights the transformative power of words, serving as a reminder that we can "write things into existence."Since his debut mural in Wynwood during Art Basel 2014, he has completed over 500 murals across 9 countries, showcasing his distinctive “Handwritten Murals.” Among these, 98 are part of his ongoing initiative, The World Peace Mural Tour, featuring large-scale works that repeatedly proclaim “World Peace” in Renda's unique script. His memorable phrases, such as “Your Comfort Zone Will Kill You,” “Love is a risk. Do it anyway,” and “Feel Free to Feel Free,” have gained viral popularity and continue to resonate withaudiences who encounter his work.InstagramWorld Peace Mural
Send us a textOn this episode of ORR, Adam and Danny are joined by Fright Club NI's Gavin Logan! Gavin shares his memories of going to Star Wars Celebrations in 2016/2023 and gives tips on how to survive the convention.The guys also share their thoughts on REVENGE OF THE SITH, as it celebrates its 20th anniversary this month! You can find Gavin's work over at www.thefrightclubni.com. Our artwork is supplied by the excellent Jonathan Sung and our theme song is by the brilliant Andy Kahrs!Support the showAs always each recording features spoilers (sorry), silliness, some bad-language (sorry again) and tangents a-plenty.If you enjoy the show, be sure to subscribe and leave us a nice review wherever you get your podcasting fix. It's a free way you can help more listeners find our pod. Check out our socials on Facebook, Twitter, Instagram and YouTube.
‘sink beneath the surface into myriad voices speaking in stone'- from On Danggu by Nandi Chinna In this episode of 3CR's Spoken Word show which aired on Thursday 20 March 2025, you will hear poet Nandi Chinna talk about the eco-poetics of wild rivers, listening and reciprocal relationships. Nandi Chinna works as a research consultant, educator, and poet. She is based on unceded Aboriginal land in Boorloo (Perth) and Bunuba lands in Fitzroy Crossing, WA. Her poetry has its genesis in a strong determination to craft creative works and poetry as a response to the ecologies and layers of history attached to particular places.Nandi is the author of four poetry collections. The Future Keepers (Fremantle Press) was shortlisted for the Prime Ministers Literary Award in 2020 and was highly commended in the Victorian Premiers Prize 2019. Nandi was awarded the 2021 Western Australian Premiers Writing Fellowship. Her most recent collection, a collaboration with Niykina Elder Professor Anne Poelina, Tossed up by the beak of a Cormorant, poems of the Martuwarra River, was published by Fremantle Press in 2024. Poems written and performed by Nandi Chinna in this episode:On DangguReciprocal GiftsAt Yirramalay Spring NoteSpoken word and poetry come from the heart and touch on all the topics peculiar to the human condition. As such there may be content in this show that could cause distress. Please practice self-care when listening and seek help if you need it. CreditsRecorded and produced by Indrani Perera.Thank you to Nandi Chinna for sharing her poetry and to you for listening!
Tina Cane is the founder/director of Writers-in-the-Schools, RI, and, from 2016-2024, served as the Poet Laureate of Rhode Island where she lives with her husband and three children. In her capacity as poet laureate, Cane established her state's first youth poetry ambassador program in partnership with Rhode Island Center for the Book, and brought the Poetry-in-Motion program from the New York City Transit System to Rhode Island's state-wide buses. Cane is the author of The Fifth Thought, Dear Elena: Letters for Elena Ferrante, poems with art by Esther Solondz (Skillman Books, 2016), Once More With Feeling (Veliz Books 2017), Body of Work (Veliz Books, 2019), and Year of the Murder Hornet (Veliz Books, 2022). In 2016, Tina received the Fellowship Merit Award in Poetry from the Rhode Island State Council on the Arts. She was also a 2020 Poet Laureate Fellow with the Academy of American Poets. Her debut novel-in-verse for young adults, Alma Presses Play (Penguin/Random House) was released in September 2021. Cane is also the creator/curator of the distance reading series, Poetry is Bread, and the editor of Poetry is Bread: The Anthology (forthcoming from Nirala Press, 2024). Her second verse novel for young readers, Are You Nobody Too? (Penguin/ Random House) was released in August 2024.Janelle Bence is a high-school English teacher with 24 years of experience teaching in Texas. Her favorite project is a Spoken Word event where freshmen support a local non-profit of their choosing. She is a longstanding member of the National Writing Project and enjoys collaborating with researchers to deepen her praxis. Currently, two projects she is working on are Transdisciplinary Civic Composing Collective (UT Austin) and Colorado State Sustainable Teaching and Learning (Colorado State University). Her writing is published in Civics for the World to Come: Committing to Democracy in Every Classroom (Mirra & Garcia, 2023) and Teaching for Equity, Justice, and Antiracism with Digital Literacy Practices (Edited By Meghan E. Barnes, Rick Marlatt).
Tina Cane is the founder/director of Writers-in-the-Schools, RI, and, from 2016-2024, served as the Poet Laureate of Rhode Island where she lives with her husband and three children. In her capacity as poet laureate, Cane established her state's first youth poetry ambassador program in partnership with Rhode Island Center for the Book, and brought the Poetry-in-Motion program from the New York City Transit System to Rhode Island's state-wide buses. Cane is the author of The Fifth Thought, Dear Elena: Letters for Elena Ferrante, poems with art by Esther Solondz (Skillman Books, 2016), Once More With Feeling (Veliz Books 2017), Body of Work (Veliz Books, 2019), and Year of the Murder Hornet (Veliz Books, 2022). In 2016, Tina received the Fellowship Merit Award in Poetry from the Rhode Island State Council on the Arts. She was also a 2020 Poet Laureate Fellow with the Academy of American Poets. Her debut novel-in-verse for young adults, Alma Presses Play (Penguin/Random House) was released in September 2021. Cane is also the creator/curator of the distance reading series, Poetry is Bread, and the editor of Poetry is Bread: The Anthology (forthcoming from Nirala Press, 2024). Her second verse novel for young readers, Are You Nobody Too? (Penguin/ Random House) was released in August 2024. Janelle Bence is a high-school English teacher with 24 years of experience teaching in Texas. Her favorite project is a Spoken Word event where freshmen support a local non-profit of their choosing. She is a longstanding member of the National Writing Project and enjoys collaborating with researchers to deepen her praxis. Currently, two projects she is working on are Transdisciplinary Civic Composing Collective (UT Austin) and Colorado State Sustainable Teaching and Learning (Colorado State University). Her writing is published in Civics for the World to Come: Committing to Democracy in Every Classroom (Mirra & Garcia, 2023) and Teaching for Equity, Justice, and Antiracism with Digital Literacy Practices (Edited By Meghan E. Barnes, Rick Marlatt). About The Write Time The Write Time is a special series of NWP Radio, a podcast of the National Writing Project (NWP), where writing teachers from across the NWP Network interview young-adult and children's authors about their books, their composing processes, and writers' craft. You can view the archive at [https://teach.nwp.org/series/the-write-time/
A powerful spoken word performance drawn from the French verses of O Canada, this piece reclaims the national anthem as a sacred text—a mirror, a memory, and a mandate. With reverence and raw truth, it weaves history, heritage, and hope into a living call to unity. In a time of division and disillusionment, "Tempered by Faith" reminds Canadians that strength is forged through sacrifice, that courage is steeped in belief, and that our story—though imperfect—is epic. This isn't just a poem. It's a homecoming. A heartbeat. A vow.
Prædiken fra gudstjeneste i Broen d. 13. april 2025Prædikant: Peter Jerup-ThiseTekst: Matthæusevangeliet kap. 21,1-9–––––––––––––––––––––––––––––––––––––––––––– Studiemateriale til prædikenen Materialet er skrevet til brug i cellegrupper, men kan også bruges som personlig refleksion, eller sammen med en mikromakker, eller ægtefælle. START MED BØN (5 MIN)Lad en person lede en bøn og bed Helligånden om at lede, og guide jer i jeres tid sammen.CHECK-IN (15 - 20 MIN)Hvis I er en gruppe på mere end seks personer, kan det være en idé at opdele jer i grupper af tre, så der bliver bedre tid og rum for alle. Har I ikke startet aftenen med at spise sammen, kan det være en god idé at lande lidt først. Del kort med hinanden, hvad I hver især ankommer med: hvad fylder I dag – godt, skidt, arbejde, familieliv?Hjælp hinanden med at holde tiden. I kan evt. sætte en timer. TAL OM PRÆDIKENEN1 Læs teksten til prædikenen sammen: Matthæusevangeliet kap. 21,1-92 Har du hørt prædikenen? Hvad lagde du særligt mærke til?3 Hvornår har jeg sidst oplevet, at Gud kaldte mig til noget, som ikke helt gav mening – og hvordan reagerede jeg?– Hvad fik mig til at tøve eller adlyde?4 Hvilke forventninger har jeg til, hvordan Jesus bør handle i mit liv – og tør jeg give slip på dem, hvis hans vej ser anderledes ud?– Er jeg mest som disciplene eller som mængden i Jerusalem?5 Er der et "æsel", Jesus beder mig hente – en konkret handling i hverdagen, hvor han kalder på min lydighed og tillid?– Noget småt, men vigtigt?6 Hvad kunne det betyde for mig at "lægge min kappe ned" for Jesus?– Er der noget, jeg skal give slip på, for at han kan bruge mig?7 Hvordan kan jeg i den kommende uge vælge at følge Jesus som fredskongen – ikke med begejstring i munden, men med overgivelse i hjertet?– Hvor kan jeg bringe hans fred ind i andres liv?8 Er der nogle “næste skridt”, der skal sættes ind i kalenderen for dig, eller for jer som gruppe? Hvilke skridt kan du tage for at stole på Guds løfter, selv når du ikke forstår dine omstændigheder?BØN (10 MIN)Bed for jer selv og for hinanden, og bed ind i de ting, I har delt med hinanden. AFSLUTNINGOplever du, at Gud minder dig om noget nu, som du har lyst til at dele? Det kan både være til dig selv og til andre i fællesskabet. Husk, at Gud bruger os som fællesskab til at opmuntre hinanden i tro.
You feeling this episode? Send us a text!Pt 4/4. In this episode, we talk about the back and forth reconnections of a child with a parent battling addition. It's not our job to save them but we often grow up wanting to. Wanting to know if we're worth more than those few minutes of high. The constant reconnection can be draining. The end game isn't always a happy ending. Just know that you are not your parents. It's ok to want to be their savior but know that the only one who can save them is them. Keep loving them even it's from a distance. Support the show
Brace yourselves. We're raining down the HARSH NOISE on this episode!Playlist: The Nausea & Echthros - Dream WalkingThe Body - Less MeaningPharmakon - SPLENDID ISOLATIONThe Furnace - They're Coming To Get YouKlein - role of fearporch collapse - Zero State SolutionEstrogen Estrogen Estrogen - 1Met Glas - TERROR PUMPScott Walker - DimpleWretched Member - Burden HeldZenjungle & Valiska - Holding Onto the PastGryphon Rue - Blue EraserLaurie Anderson - India And On Down to AustraliaUboa - JawlineMartin Tétreault - Bechet in the FutureMoat Bells - DecloudMatt McBane - VCV Chaconne
Join the Three of Seven Project team for the Monday Meeting segment discussing Matthew chapter 12. https://www.3of7project.com Apply for Rite of Passage at: https://www.3of7project.com/train Thank you for supporting Three of Seven Podcast on Patreon at: www.patreon.com/threeofseven Three of Seven Project Store https://3of7project.myshopify.com/pages/shop Apply for The Basic Course at: https://www.3of7project.com/train Check out the Three of Seven Project Youtube channel at: Three of Seven Project Youtube Nuff Said
Amanda Humberson kicks off Season 2 of the Podcast with some poetry for your soul.
April is National Poetry Month! Enthusiasm for spoken-word poetry has skyrocketed in recent years, helping to increase the popularity of all poetry. We're diving into the art form and the poets who use their voices and bodies in staged performances. Who are the lyrical wordsmiths at the top of their game, including here in Massachusetts? We speak with Boston-based award-winning poet Amanda Shea, 2025 Poetry Out Loud Massachusetts champion Abigail Drumm and Grammy Award-winning spoken-word artist J. Ivy.
Prædiken fra gudstjeneste i Broen d. 6. april 2025Prædikant: Peter Jerup-ThiseTekst: Lukasevangeliet kap. 1,26-38––––––––––––––––––––––––––––––––––––––––––––Studiemateriale til prædikenen Materialet er skrevet til brug i cellegrupper, men kan også bruges som personlig refleksion, eller sammen med en mikromakker, eller ægtefælle. START MED BØN (5 MIN)Lad en person lede en bøn og bed Helligånden om at lede, og guide jer i jeres tid sammen.CHECK-IN (15 - 20 MIN)Hvis I er en gruppe på mere end seks personer, kan det være en idé at opdele jer i grupper af tre, så der bliver bedre tid og rum for alle. Har I ikke startet aftenen med at spise sammen, kan det være en god idé at lande lidt først. Del kort med hinanden, hvad I hver især ankommer med: hvad fylder I dag – godt, skidt, arbejde, familieliv?Hjælp hinanden med at holde tiden. I kan evt. sætte en timer. TAL OM PRÆDIKENEN1 Læs teksten til prædikenen sammen: Lukasevangeliet kap. 1,26-382 Har du hørt prædikenen? Hvad lagde du særligt mærke til?3 Hvordan oplever jeg det ordinære i mit eget liv?Hvor er der rutine, hverdag, måske endda træthed – og hvordan kunne Gud være nær netop dér?Hvornår har jeg sidst mærket, at Gud mødte mig midt i det almindelige?Var der et "glimt" af noget større i en hverdagssituation?Hvad gør det ved mig at tænke på, at Gud ikke kun kommer i det spektakulære, men i det stille og skjulte?Hvordan påvirker det min længsel efter at “se” Gud?4 Tør jeg tage imod Guds kald, selv når det forandrer mit liv på uventede måder – som det gjorde for Maria?Hvad kunne det betyde for mig at svare: "Lad det ske mig efter dit ord”?Hvordan kan jeg øve mig i at følge "tråden", som Gud lægger ud i mit liv?Er der noget, jeg mærker mig kaldet til at holde fast i, også når jeg ikke kan se hele vejen?5 Hvad betyder det for mig, at Gud valgte noget så menneskeligt og sårbart som en mors livmoder til at komme ind i verden?– Hvad siger det om, hvordan Gud ser på kroppen, det skrøbelige, det jordnære?6 Er der noget i mit liv, som jeg har svært ved at tro, Gud kan bruge?– Hvordan kunne Guds nærvær forvandle netop dét?7 Hvordan kan jeg leve med en forventning om, at Gud møder mig – ikke bare én gang, men igen og igen – i det ordinære? – Er der vaner, bønner eller opmærksomhedsøvelser, jeg kan tage til mig??8 Er der nogle “næste skridt”, der skal sættes ind i kalenderen for dig, eller for jer som gruppe? Hvilke skridt kan du tage for at stole på Guds løfter, selv når du ikke forstår dine omstændigheder?BØN (10 MIN)Bed for jer selv og for hinanden, og bed ind i de ting, I har delt med hinanden. AFSLUTNINGOplever du, at Gud minder dig om noget nu, som du har lyst til at dele? Det kan både være til dig selv og til andre i fællesskabet. Husk, at Gud bruger os som fællesskab til at opmuntre hinanden i tro.
Baxter had no idea why flowers thrilled him or why the full moon tugged his spirit—pulled it up out of his body into the sky, reaching, reaching for a dream full of desire to carve a parting yellow sea out of the long, black, dangling night under which he walked and walked across mud and old fallen trees and comrades spread as far as his eyes could see across the land. All music gone—nobody left to nod in the mud, or lean into prayers or worship the illusions of reflections cut out of the nine lives that nobody remembered—that once the cats owned. “And neither do I,” Baxter thought, as the army from the east roared over, so close, so close, so close to the thirsty land. Sacred land where kind eyes never belong anymore—and the monks and the gods and the children don't dance, nor do they follow the shadows up past the owls and the spiders. Baxter gave commands. Baxter had been in this business for a long time. He loved once before he fell in love with the trenches and the bullets and the old flowers that always returned after the long dead eyed winter was over. Baxter understood war belongs to the old, the ones that live elsewhere in the wealth and the lands beyond where he stood, like the chill of some soul that belongs nowhere. And yet he knew they were there somewhere like spirits way out beyond where he stood. Baxter turned to his friend, there in the hollow crossing—they leaned together; they kissed each other, loaded their rifles, fired at the men from the east. “Evil belongs to the other planets and the dead and me and the ones I once loved,” Baxter thought as he marched on into the day.
You feeling this episode? Send us a text!Pt 3. n this episode, we take you on a journey of reconnecting with parents after divorce. Sometimes the missing parent always says, "You'll know when you get older" like there's more to the story than what you physically see. The parent raising you really don't have to fill your head with anything negative about the other. The actions of the absent parent will always show their truth every time. Let's get into it then. Tune in now!Support the show
SOCAN selections to celebrate Canadian artists on this episode of Noise.Playlist: Hermitess - Green BladeArtemis - Olive BranchCarl Mayotte - AbracadabraJairus Sharif - Bear WitnessT. Gowdy - Anonymous VRachel Therrien - OrunGinger Beef - TakeoutMortimer, Be Quiet. - Sure As Spring - Prairie-side Folk MixNick Storring - MiranteValiska - EngulfedContaQt/Yaz Lancaster/Evan Ziporyn - Point the WayGhost Cartridge - Remembering the CosmosWho Cares - Glimpses: KotekanThe Daniel Pelton Collective - Klezmer Dances IIAriel Ulysses - Leaning into spirituality
Un poema dedicado al vino, originado durante mi residencia artística en Bodegas de Santo Tomás en octubre 2024.
By Pastor Asheesh Lal
Today in the business of podcasting: Tom Webster debuts findings from the biggest study in podcast advertising efficacy in the U.S., Digiday looks at the potential of advertising downturn caused by hype, Radiocentre gives a look at podcast growth in the UK, YouTube is on track to outpace Disney in revenue estimates, and the winners of the 2025 Ambies. Links to every article mentioned, as well as signup links to the Sounds Profitable event in May and Tom Webster's upcoming webinar, can be found here on Sounds Profitable.
Today in the business of podcasting: Tom Webster debuts findings from the biggest study in podcast advertising efficacy in the U.S., Digiday looks at the potential of advertising downturn caused by hype, Radiocentre gives a look at podcast growth in the UK, YouTube is on track to outpace Disney in revenue estimates, and the winners of the 2025 Ambies. Links to every article mentioned, as well as signup links to the Sounds Profitable event in May and Tom Webster's upcoming webinar, can be found here on Sounds Profitable.
Miley Cyrus surprises fans with spoken word full 70 Tue, 01 Apr 2025 12:08:45 +0000 DeXFD2gX4PrtLVji4lZtQY1Yk4aLzhIN new music,news,pop culture,trending news,miley cyrus,music news,the spice girls,jenny mccarthy,entertainament news,society & culture,music,tv & film,daily news,entertainment news Jenn Hobby new music,news,pop culture,trending news,miley cyrus,music news,the spice girls,jenny mccarthy,entertainament news,society & culture,music,tv & film,daily news,entertainment news Miley Cyrus surprises fans with spoken word Jenn doesn't want you to miss a thing! If you missed a segment, or an entire show one morning, then just download the segments you missed below! Or check us out on iTunes and subscribe there! © 2025 Audacy, Inc. Society & Culture Society & Culture Society & Culture Society & Culture Society & Culture Music Society & Culture TV & Film News Daily News Entertainment News False https://player.amperwavepodcasting.com?feed-link=https%3A
I might think of this as the first piece of my National Poetry Month observance this year, or as a piece the follows on from my Alice Dunbar Nelson "I Sit and Sew" performance earlier in March. "She Dreams of Sewing Machines" is part of my set of Memory Car sonnets dealing with a daughter's experience of her mother's dementia. The Parlando Project combines various words (mostly literary poetry) with original music in differing styles. We've done over 800 of these, and we will be adding several more as part of our April #NPM2025 participation. You can hear any of our previous audio pieces and read about experience performing them at our blog and archives, located at frankhudson.org
Tell Me No More Lies Put down your story across the rocky landing. All force belongs to those who break angel wings apart and turn them into dust. I fold you behind the patches on my shoulders. Oh, no, these are the days that have never been. At last I'm home, tired. I forgot your name. Why do I find old buzzards hiding behind clocks in shops on the Flyway Road? I wish I could be in love forever with the old trucks that roar into the night. Fold me into your pocket, carry me with you until I stop breathing, then release me into the thin air. Oh, thin air—why do you redeem the little ones? What about me, can I have redemption too? One small wish will do—a little wish to go in my story when I wake behind some old wizard's dream. I have never robbed a bank or stolen a diamond, or a heart for that matter. Hold me now, hold me tight. I belong to the wind again‚—and the lies I've told. Yes, you can take me with you. I'll protect you. I'll find the cracks of the sky and pull God down onto the fire that burns at the back of my hand. I'm home, like I said; the angels have disappeared, gone with the dust and memory. Come with me, old wizard—yes, that's you. Put your story across the rocky landing. Tell me no more lies—at least not today.
No episódio desta semana do podcast Dizer converso com a Mia Tomé, atriz, atriz de voz, dizedora de poesia e uma consumidora de cinema nata.Falámos sobre Teatro, Cinema, Novelas, a diferença da representação nos vários formatos e formas de arte e fomos ao fundo do seu mais recente projecto — um álbum de spoken word a partir da poesia de Emily Dickinson, traduzida pela poeta Ana Luisa Amaral, chamado "Há um Herbário no Deserto".Equaciona apoiar o podcast e torna-te patrono por 2€/mês em patreon.com/poetadacidade ❤️_________(00:00:00) - Introdução(00:00:48) - Dobrar desenhos animados(00:02:58) - Atriz de voz: necessidade ou gosto?(00:04:25) - Teatro ou trabalhar com a voz?(00:06:47) - Estudar teatro nos EUA e diferença entre representar para teatro e cinema(00:15:53) - A série "Adolescência"(00:24:47) - As gerações mais novas e nós: quais as maiores diferenças? TikTok, Emojis e enviar Rosinhas.(00:29:00) - Ser professora e dar aulas(00:34:48) - Educar para a Cultura(00:41:41) - Preconceito com o estar nas redes sociais: Madalena Sá Fernandes e polémica com João Pedro George;(00:52:20) - Quando apareceu a poesia dita na tua vida?(00:58:58) - Novo álbum de Spoken Word a partir da Emily Dickinson(01:11:41) - Espectáculos de apresentação do álbum(01:21:07) - Criação de novos públicos(01:28:57) - Leitura de um poema: Emily Dickinson_________LINKS DO EPISÓDIO:Mia Tomé: instagramHá um Herbário no Deserto: SpotifyHerbário, Emily Dickinson: Wook_________Para apoiarem este podcast, colocarem questões aos convidados, ter acesso a conteúdo exclusivo e fazer parte de uma comunidade de pessoas em que a cultura, a arte e a literatura ocupam um lugar primordial, tornem-se patronos em patreon.com/poetadacidade ✨_________REDES:Agenda Completa em poetadacidade.comLivro e Audiobook disponível em poetadacidade.comPedro IG: instagram.com/opoetadacidadePedro Twitter: twitter.com/opoetadacidadePedro TikTok: tiktok.com/@poetadacidadeDizer IG: instagram.com/podcastdizerDizer Clips TikTok: tiktok.com/@podcastdizer_________CONTACTOS PROFISSIONAISpodcastdizer@poetadacidade.com
Let's break down this story. I belong to those who believe small gods call out to lizards with wings. Who can remember 20 years ago? How do you know those you've forgotten still live? A man told me last night he had died in another lifetime because he jumped off a cliff to keep the Romans from killing him—some kind of religious thing, many, many centuries ago. I told him I'd never experienced a past life. I said all life is one, as far as I was concerned—a continuous roll across the void at home and nothing. He had his story; I had mine. And then Bill Fundaberg's story—Bill died in the East Village during the Aids crisis. Oh, Bill Funderburg, we loved him; he could have been Andy Warhol in another life; he had one of those long-stem cigarette holders that he put his camel in, or his Marlboro or whatever cigarette he smoked. And he walked around staring up the sky, peering into the trees, puffing his cigarette. After he died, that news didn't come back to me for many years. When I last heard the news, it was a long time ago, and somebody told me his teeth were on a shrine in Phuket, Thailand. All praise to the land of the Buddha—the butterflies came—gold wings, Hungry for beauty—nothing boring about butterflies and dreams. And then there are those who wait for buses across the street, from the bar to Marché in Paris, where people lean on walls in the uncertainty of casual time. Oh, hungry, complacency; why do the fairies lie so much? Can you tell me that? Why do the fairies lie so much? How come the first position blesses the robin's eggs before I can break open? She said she hated pink. Oh, my. Bill Funderburg loved pink. I love wizards. At The Bar du Marché, you can do nothing, absolutely nothing. It's okay. Surie waves at the people who go by—serves and drinks‚—waves at them again. I've been going there for years—maybe 40 years. Will I soon disappear? Will I soon find the bus, the bus I've been waiting for for a long, long time? Who will remember me when I'm gone?
You feeling this episode? Send us a text!Pt 2. In this episode, we take you on a journey of reconnecting after lockup. Many children have trouble reconnecting after a parent has been released from the penitentiary. It's gets harder reconnecting after your whole childhood has been missed. Where do you begin? Do you even try? Let's get into it. Tune in now!Support the show
You feeling this episode? Send us a text!Pt 1. In this episode, we start a news series of parental alienation. This episode goes out to all of those who have been adopted and tried to reconnect with your biological parents but it didn't go as you thought it would in your head. Tune in now. Support the show
Hello to you listening in Colville, Washington!Coming to you from Whidbey Island, Washington this is Stories From Women Who Walk with 60 Seconds for Wednesdays on Whidbey and your host, Diane Wyzga.Recently I was asked: How are you disrupting the status quo narratives? How and where are you sharing your stories, and encouraging others to tell theirs?I believe that I listen keenly to stories and then tell the world something it needs to hear. How do I do that? I've designed my daily 60 Seconds podcast episodes to help shift the status quo narratives so we - especially women - are seen, heard, understood, and listened to. Whether it's words of poetry, a page from my life story, something to ponder as you wander, or a story prompt to invite you to begin your own writing, I now have over 1,200 global episodes in 5 years on air inviting us to shift attitudes, behaviors, and even culture. As Quarter Moon Story Arts I help women discover and uncover their origin or personal brand story because it's the most consequential one they will ever tell: how they got from There to Here. I'm a storyteller who believes in the power of the spoken word. There are few words more powerful than those spoken by women. I help professional women find the words they didn't know they had to connect with, engage and influence their audience while transforming the lives of those they serve. That's what I stand for.CTA: If you are curious about how to create a ruckus with your words, disrupt the status quo narratives with your story, connect and engage with the power of your voice, contact me for a no obligation, no sales, no pressure Discovery Chat at info@quartermoonstoryarts.net or on Substack as "Wyzga on Words." There are stories waiting to be told and heard. They are yours. You're always welcome: "Come for the stories - Stay for the magic!" Speaking of magic, I hope you'll subscribe, follow, share a 5-star rating and nice review on your social media or podcast channel of choice, bring your friends and rellies, and join us! You will have wonderful company as we continue to walk our lives together. Be sure to stop by my Quarter Moon Story Arts website, check out the Services, arrange a no-obligation Discovery Call, and Opt In to stay current with me as "Wyzga on Words" on Substack. Stories From Women Who Walk Production TeamPodcaster: Diane F Wyzga & Quarter Moon Story ArtsMusic: Mer's Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 to Present Quarter Moon Story Arts. All rights reserved.
‘If my childhood were a thread it would connect all the vibrant colours into a phulkari and remind me to be proud of my parivaar, my family.'- from Pardes by Sukhjit Kaur Khalsa In this episode of 3CR's Spoken Word show which aired on Thursday 20 March 2025, you will hear multiform artist Sukhjit Kaur Khalsa talk about racism, representation in the arts and her debut novel. Sukhjit Kaur Khalsa OAM is a writer, performer, producer and cultural leader based in Boorloo. Her work as a multi-form artist for the last decade has been recognised at the Performing Arts WA Awards, Mona Brand Writing Awards, WA Multicultural Awards and Australian Sikh Awards. Her passion for storytelling began as a finalist in the Australian Poetry Slam in 2014, semi-finalist on Australia's Got Talent in 2016 and winner of The Moth GrandSLAM in 2019.Sukhjit has supported Missy Higgins and L-FRESH the Lion on their national tours in 2016 and 201717 and and her debut hip-hop single ‘Collectables' is now streaming on global music platforms. Sukhjit was selected to participate in a Broadway producing program with Theatre Producers of Colour in New York (2023). She is currently producing ‘A Hairy Tale', a documentary exploring female body hair.Her debut novel Fully Sikh: hot chips and turmeric stains (Upswell Publishing) is available now. Poems written and performed by Sukhjit Kaur Khalsa in this episode:To Advance Australia FairPardesCollectibles (song) NoteSpoken word and poetry come from the heart and touch on all the topics peculiar to the human condition. As such there may be content in this show that could cause distress. Please practice self-care when listening and seek help if you need it. CreditsRecorded and produced by Indrani Perera.Thank you to Sukhjit Kaur Khalsa for sharing her poetry and to you for listening!
Send us a textIncoming transmission! Welcome to episode one of Outer Rim Ramblin, hosted by Jedi Master Danny Brown and The Outlaw Adam Neeson. Taking you on a monthly trip around the galaxy, talking about all the latest happenings from a Galaxy far far away!This month, we cover the latest Andor trailer, our thoughts on Skeleton Crew and our hopes for the forthcoming Star Wars Celebrations.Our opening/closing theme is supplied by Andy Kahrs, who you can find on TikTokhttps://www.tiktok.com/@andy.kahrs?_t=ZN-8udPSTgCal4&_r=1You can also find Danny and Adam talking horror over at www.thefrightclubni.com Support the showAs always each recording features spoilers (sorry), silliness, some bad-language (sorry again) and tangents a-plenty.If you enjoy the show, be sure to subscribe and leave us a nice review wherever you get your podcasting fix. It's a free way you can help more listeners find our pod. Check out our socials on Facebook, Twitter, Instagram and YouTube.
You feeling this episode? Send us a text!Pt 3/3. In this episode, we get into the last straw. When you've exhausted all options do you divorce or stay in it. If you're staying in it what made you stay? Sometimes divorce isn't an easy decision. You think about the multiple concepts that you're saving at once. Let's get into it. Tune in Support the show
Each week Pastor Chris will be bringing you a powerful word on whatever topic he is covering in the church but with a specific focus! PC dives into the word and brings you lots of scriptures about whatever topic it is to get you more biblical knowledge and understanding about what God is saying to you through his word! Welcome to Chris Sarno TV, an online campus of Relevant Church located in Daytona Beach, Florida. We pray that through this service you find your place, reveal your purpose, and unlock your potential! We pray this message blesses you and gives you the strength you need to do and be all that God has called you to do and be! Leave a comment below letting us know how this message impacted you today, we'd love to chat with you! #RelevantChurch #ChrisSarnoTV #PastorChrisSarno #OnlineChurch #ChurchOnline #RelevantChurchDaytonaBeach #Midweek #mdwk -------------------------------------------------------------------------------------------------------------------------------------------------------------- Ways to Give: Text to Give: Text your amount to 386-968-1103 Online Giving: Visit our website http://www.relevantfl.org/giving to give via debit, credit, or ACH Mail It In: Send gift Via USPS to 920 Beville Rd. Daytona Beach, FL 32114 -------------------------------------------------------------------------------------------------------------------------------------------------------------- Stay Connected: Subscribe to our YouTube Channel: @RelevantChurch Relevant Church Website: https://www.relevantfl.org/ Relevant Church Instagram: https://www.instagram.com/relevant_fl/ Relevant Church Facebook: https://www.facebook.com/RelevantFL Relevant Church TikTok: https://www.tiktok.com/@relevant_fl?_t=8mNFjdYMYoh&_r=1 Relevant Church App: https://apps.apple.com/app/id1615804850?fbclid=IwAR3aHqo_6kr8Tzd_JK6xihjfJkVk6j7-iqITDj1u1wFicDLn6g6C29gL3LY Rkidz Facebook: https://www.facebook.com/rkidzfl Relevant Youth Instagram: https://www.instagram.com/relevantflyouth/ Relevant Church Spotify: https://open.spotify.com/show/6nUtPIkecEehfstUWWPIVU?si=QBMEtu85SyuU3FxRM1X7lg&nd=1 Pastor Chris Sarno's Website: https://www.chrissarno.tv/ Chris Sarno App: http://www.chrissarno.tv/app -------------------------------------------------------------------------------------------------------------------------------------------------------------- Scripture References: 2 Corinthians 9:7-8 (AMP) Proverbs 6:2 (KJV) Mark 9:23 (KJV) Matthew 17:20 (KJV) Mark 11:20-22 (KJV) Ephesians 5:1 (KJV) John 14:12 (KJV) Matthew 16:18-19 (KJV) Psalms 118:89 (KJV) Psalms 89:34 (KJV) Matthew 8:13 (KJV) -------------------------------------------------------------------------------------------------------------------------------------------------------------- Wednesday, March 12th 2025 Pastor Chris Sarno Relevant Church Power Of The Spoken Word | Chris Sarno TV
You feeling this episode? Send us a text!Pt 2. In this episode of the series we get into learning things about the other spouse but you learned it in secret. What happens when we want to ask someone about something we've learned but we didn't hear it from them? Maybe you did her it from them unconsciously but not when they were awake. We toil with ourselves about bombarding the other person with questions about things they didn't even tell you or don't remember telling you. It starts with trust. Can they trust you to not throw it back at them whether it's a secret they told you consciously or not? Tune in to part 2 now. Support the show
Spoken word artist and coach Adam Roa joins me for a wide-ranging chat about life, love, and the messiness of it all. We get into the highs and lows of going viral, why self-love can sometimes look a lot like narcissism, and what's total BS in the personal growth world. Adam shares war stories from the world of artistic entrepreneurship - think big money, big egos, and the discipline it actually takes to make it work. We also talk new age communities (the good, the bad, and the seriously weird), being a digital nomad, breaking up like a pro, and why relationships are the ultimate dojo for self-discovery. Plus, a peek into his new book and what he's learned from coaching clients with million-dollar budgets. Expect insight, irreverence, and a few truth bombs along the way. Read more about Adam here: adamroa.com ------------------------------------------------------ Adam Roa is an internationally touring poet, coach and speaker who helps people build a fulfilling life through embracing their inner artist and inner entrepreneur. His “Creative Path Podcast” breaks down the creative process of some of the world's most influential people and his viral poem, “You Are Who You've Been Looking For" is the most viewed poetry performance in history, seen more than 250 million times. ------------------------------------------------------ Check out our YouTube channel for more coaching tips and our Podcast channel for full episode videos Uplevel your coaching with a free copy of Mark's latest eBook, The Top 12 Embodiment Coaching Techniques Join Mark for those juicy in-person workshops and events Fancy some free coaching demo sessions with Mark? Connect with Mark Walsh on Instagram
In this inspiring episode, we welcome an exceptional spoken word artist whose roots span the vibrant cities of Chicago and London. As a young Black woman, she navigates the cultural landscapes of both cities, infusing her work with a unique blend of experiences and perspectives. Along with acting and modeling and much more! Please join me as I interview Ashanti Starlight, please like, share and subscribe!Support this podcast at — https://redcircle.com/the-no-cap-podcast/donations
A lot of us go through life avoiding our feelings — but experiencing our full spectrum of emotions is the key to living a full, authentic life. Whether you're an empath who feels everything deeply, struggling with heartbreak, or working through past wounds, embracing your sensitivity can be your greatest strength. After all, our grief is just a representation of how deeply we love.In this all-time favourite throwback episode, we explore how to process emotions in a healthy way, break free from fear, and find your authentic voice with bestselling poet, author and incredibly wise friend, Allie Michelle.Allie captures the depths of human emotion through her beautiful writing and spoken word. Allie is one of my favourite poets, and her latest fantasy novel, Legends of Lemuria, is out now on Thought Catalog! She runs Pen 2 Publish, a program to help writers create, publish and market their books. Allie co-founded a community for mental health and wellness called We Are Warriors, and she's also a certified meditation, breathwork and yoga teacher.Tune in as we explore:✅ How to feel deeply without drowning in emotions✅ The difference between healthy vs. unhealthy empathy✅ Inner child work and emotional healing✅ The power of embracing heartbreak as transformation✅ How to turn fear into a compass instead of a roadblock✅ Finding your voice as a writer and storyteller✅ Allie's hot take on overcoming writer's block✅ Showing up as your most raw, unmasked self✅ The art of deep breathing and mindfulnessIf you've ever felt overwhelmed by your emotions or struggled to own your sensitivity, this conversation will remind you that your softness is your strength."Break my heartbreak it so wide openthat the whole worldcan fit in between the pieces." — Allie MichelleOrder Allie's book, Legends of LemuriaFollow Allie on InstagramFollow Allie on TikTokWatch Allie's live performance of her poem shared in this episode. For advertising and sponsorship inquiries, please contact Frequency Podcast Network. Sign up for our monthly adulting newsletter:teachmehowtoadult.ca/newsletter Follow us on the ‘gram:@teachmehowtoadultmedia@gillian.bernerFollow on TikTok: @teachmehowtoadultSubscribe on YouTube
Send us a textIn this episode Robert leaves Ellisland farm and moves to Dumfries. We look at his work as an excise officer and a famous incident involving Robert attacking a smugglers Schooner on the Solway Firth. I also look at Roberts visit to Edinburgh to see two women, for very different reasons. We also talk about a man called George Thomson and the influence he had on Robert. There is lots going on in this episode, dive right in and enjoy!Burns Banter - A fresh look at Robert Burns
WHEN WE CEASE TO UNDERSTAND THE WORLD by Benjamin Labatut (translated by Adrian Nathan West), chosen by Ted Hodgkinson ENTER GHOST by Isabella Hammad, chosen by Inua Ellams GHOSTING: A DOUBLE LIFE by Jennie Erdal, chosen by Harriett GilbertAs Head of Literature and Spoken Word-programming at the Southbank Centre in London, writers and writing are at the heart of Ted Hodgkinson's work. In 2020 he chaired the judging panel of the International Booker Prize and he has judged many other awards, including the Orwell Prize for Political Writing. His choice of a good read is a slim, genre-defying book by Chilean author Benjamin Labatut which packs a huge punch. It's about the scientists and mathematicians whose work has shaped our world, and the unintended - sometimes horrifying - consequences of scientific advancement.Inua Ellams is a playwright, poet and curator. His work includes Barber Shop Chronicles, The Half-God of Rainfall, and an updating of Chekhov's Three Sisters, set during the Biafran Civil War, and he's recently been announced as one of the writers of the next series of Dr Who. His choice is Isabella Hammad's 2023 novel Enter Ghost. After a disastrous love affair, British-Palestinian actress Sonia goes to stay with her sister in Haifa. Intending the visit as a holiday, she finds herself investigating her family's history and getting involved in a production of Hamlet, to be staged in the West Bank.Presenter Harriett Gilbert's choice is Ghosting by Jennie Erdal. A fascinating account of Jennie's time as ghostwriter for 'Tiger' (the publisher Naim Attallah), penning everything from novels to love letters in his name.Producer: Mair Bosworth
Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow #sundaynightmystery #lymebayradio fe2f4df62ffeeb8c30c04d3d3454779ca91a4871
Get ready for what's ahead and we go deeper into the book "10 Curses That Block The Blessing" by Pastor Larry Huch. Join Pastor Nancy Cole for her message on "Spoken Words and Gossip." Stay connected with us at Stay connected with us at www.larryhuchministries.com larryhuchministries.com/resources/#podcast
You feeling this episode? Send us a text!Part 1 of 3. In this episode we go on a journey of one woman's thoughts in staying or divorce. We talk about the strains of being with someone who's emotionally detached and cannot verbally express their own feelings or life. Come on this journey as we go through this 3 part series. If you've ever been in this situation we loved to know your story. Contact us. connect@thecscafe.orgSupport the show
Today we are talking about the "Godfather of Rap", writer and musician Gil Scott-Heron. He is a major influence on modern day music and political protest songs and yet we have never heard of him. Listen to hear how this ties into Kendrick Lamar and the Superbowl Half-Time Show.Become a supporter of this podcast: https://www.spreaker.com/podcast/book-cult--5718878/support.
Join me as I talk to the amazing Isabel Songer about "Captivating Creativity" as we delve into the world of spoken word.In this episode, Isabel takes us on a journey from her poetic beginnings to becoming a powerhouse on stage. We explore the art of blending humour and poetry, the thrill of solo performances, and the cultural nuances that shape her work.
Latest up from Spoken Label (Author / Artist Podcast) features Andy N for a change being interviewed by Amanda for a change talking about his new novel ‘Death'.Andy N is the author of ten poetry collections, thelast being ‘Changing Carriages at Birmingham New Street' and is the co-host of Chorlton's Spoken Word night ‘Speak Easy'.He is in the bands Ocean in a Bottle and Polly Oceanand his Podcast credits include Spoken Label and Not the TV Guide.He has bought out two novels ‘Birth' and ‘Death and iscurrently working on his next poetry book ‘Ghosts' and a currently untitled Science Fiction Novella.His links can be found at:https://linktr.ee/andynartistDeath is described as “'Death' Andy N's secondfull-length novel is as much a sequel to his first novel 'Birth' (described as a charming come-of-age novel) as facing the end of something else altogether.Having navigated the tumultuous waters of youth andfound his voice as a writer after having everything pulled out, 'Death' leads us to what happens next, picking up where 'Birth' left off, charting his journey through the complexities of adulthood, how his and everybody's lifearound him changes, love, loss and the ever-faithful present shadow of mortality and life itself.Speaking with the same raw honesty and poetic gracethat defined 'Birth,' 'Death' is a book that builds an unforgettable narrative that explores the very fabric and the bittersweet beauty of life and the acceptance of its inevitability, and wherever it may lead to next.'Death' is a powerful and moving testament to thehuman condition, a reflection on the enduring power of art, and a reminder to cherish every precious moment and live each moment like it is your last.”
Randy Blythe is the lead singer and songwriter for the heavy metal band, Lamb of God. He writes and sings, you might call it yelling...even growling, very angry, aggressive, and dark music. He has the sordid past you would expect. Severe alcoholism. Jail time for manslaughter charges. You might be surprised, or not, that he's the son of a Southern Baptist pastor. And Randy has just written his second book, called Just Beyond the Light: Making Peace with the Wars Inside Our Head. I was sent an advanced copy of the book and I found Randy to be an incredibly introspective, insightful and intellectually sober individual who I resonated with significantly. His music career started in punk rock and was very political and rebelling against society. Today however, Randy readily admits the one-sided judgement of it all. He says, “If something is worth believing in…a political, religious or humanitarian position…surely it should withstand rigorous examination from a rational, educated observer with critical thinking.” He goes on to say, “If you are unwilling to question your own beliefs and just accept them at face value…you are driven by fear." He shares that he finally realized, "his own head was lying to him" and the war inside his head and the incessant conflict was just his daily, constantly shifting perception of reality. I feel this is the war in all of our heads, and it's where my primary interest as of late is. Following is my conversation with Randy to dig into his experience and discuss our shared views on perception and reality. I found Randy incredibly thoughtful and humble, and am going to join him in Denver in a couple weeks during his national Spoken Word tour to get to know each other more. You can check out his book, Just Beyond the Light, and find him by searching for Randy Blythe. Sign up for your $1/month trial period at shopify.com/kevin Go to shipstation.com and use code KEVIN to start your free trial. Use my promo code WHATDRIVESYOU for 10% off on any CleanMyMac's subscription plans Join millions of Americans reaching their financial goals—starting at just $3/month! Get $25 towards your first stock purchase at get.stash.com/DRIVE. Learn more about your ad choices. Visit megaphone.fm/adchoices
Have you ever stopped to truly notice the world around you—the small moments and subtle ways people carry the weight of their day? In this unique episode, I'm sharing a spoken word piece by Leah Grant, a high school counselor and podcast listener, who beautifully captures the essence of what it means to be a counselor. Through her quiet observations in the hallways, she reflects on the emotional toll of social media, the growing disconnect from real human connection, and how these shifts have transformed the high school experience.Leah doesn't just share what she notices. She also reveals how she helps students process their emotions, navigate difficult situations, and reconnect with the world around them. Her words will make you pause, reflect, and see your own role in a new light. I have a feeling this episode will stay with you long after you listen, and if it resonates with you, I encourage you to share it with a friend!Resources Mentioned: Free Resource: 4-Day High School Counseling Advocacy Email ChallengeLeave your review for High School Counseling Conversations on Apple PodcastsConnect with Lauren:Sign up for the free, 3-day prep for High School Counseling Job Interviews https://counselorclique.com/interviewsVisit my TpT store https://counselorclique.com/shopSend me a DM on Instagram @counselorclique https://instagram.com/counselorcliqueFollow me on Facebook https://facebook.com/counselorcliqueSend me an email mailto:lauren@counselorclique.comJoin the Clique Collaborative http://cliquecollab.comFull show notes on website: https://counselorclique.com/episode153Mentioned in this episode:The Clique Collaborative is your monthly professional development community where high school counselors come to grow their confidence, sharpen their skills, and connect with others who actually get it. Join us inside the membership at www.cliquecollab.com. Use the limited-time promo codes FEBMONTHLY to save 15% for 3 months or FEBANNUAL to save 15% on your annual membership before doors close on February 20.
[REBROADCAST FROM Aug. 12, 2024] Lady Gaga, Chappell Roan, Samara Joy, Beyoncé, and New Orleans-based band Tank and The Bangas all won big at the Grammy's last weekend! In celebration, we air highlights of our conversation about their award-winning three-part spoken word collection titled The Heart, The Mind, The Soul. Using R&B, jazz and soul influences, vocalist Tarriona ‘Tank' Ball and guitarist/pianist Norman Spence joined for a live performance in Studio 5.
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