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I have been anticipating having the opportunity to speak with Carl Amari on an episode of Unstoppable Mindset for several months. Carl and I share a passion for vintage radio programs sometimes called “old time radio shows”. Carl heard his first broadcast in 1975 when he heard Cary Grant staring in a program from the 20-year long series entitled “Suspense”. That program left the air in 1962, but like other shows, some radio stations kept it alive later. Carl's interest in vintage programs goes far beyond the over 100,000 transcription master's he has amassed. He has also created some programs of his own. For example, in 2002 Carl asked for and received the rights to recreate the television show, “The Twilight Zone” for a radio audience. He used many famous actors while recreating the series. He talks about what he did and how he brought “The Twilight Zone” to life on the radio. He also has dramatized five versions of the bible. His most well-known work is “The Word Of Promise Bible”. When I first purchased that bible from Audible, I had no idea that Carl was its creator. Carl Amari is quite a creative guy making movies, collecting and producing radio programs and he even hosts podcasts. I hope you have as much fun listening to this episode as I did in creating it with Carl. We definitely will have him back as he has many more stories to tell. About the Guest: Carl Amari has been licensing classic radio shows from the owners and estates since 1990. He has amassed a library of 100,000+ master recordings. Amari broadcasts these golden-age of radio shows on his 5-hour radio series, Hollywood 360, heard on 100+ radio stations coast-to-coast each week. Amari is also the Host/Producer of The WGN Radio Theatre heard each weekend on legendary Chicago radio station, WGN AM 720. Amari is the founder and curator of The Classic Radio Club. Each month Amari selects the best-of-the-best from his classic radio library to send to members. Amari is also a published author. In 1996, he began writing a series of books about classic radio for The Smithsonian Institute. More recently, he teamed with fellow classic radio expert, Martin Grams, to co-write the best-selling coffee-table cook “The Top 100 Classic Radio Shows” (available at Amazon). Each bi-monthly, Amari writes a classic radio-themed column titled “Good Old Days on the Radio” for the nostalgia publication Good Old Days Magazine. In 2002, Amari licensed the intellectual property, The Twilight Zone, from CBS and The Rod Serling estate to create and produce The Twilight Zone Radio Dramas, which are fully dramatized audio adaptations based on Rod Serling's Emmy-Award winning TV series. Hosted by prolific actor Stacy Keach, each hour-long radio drama features a Hollywood celebrity in the title role. The Twilight Zone Radio Dramas has won numerous awards of excellence including The Audie Award, AFTRA's American Scene Award and the XM Nation Award for Best Radio Drama on XM. The Twilight Zone Radio Dramas are broadcast coast-to-coast each week on nearly 100 radio stations. In 2007, Amari parlayed his experience and passion for radio theatre and love for the Bible into the creation of the award-winning Word of Promise celebrity-voiced, dramatized audio Bible published by Christian giant Thomas Nelson, Inc. The New Testament won 2008's highest Evangelical award, The Christian Book of the Year. The Word of Promise stars Jim Caviezel (“The Passion of the Christ”) reprising his film role as Jesus, with Michael York, Terence Stamp, Lou Gossett, Jr., Marisa Tomei, Lou Diamond Phillips, Ernie Hudson, Kimberly-Williams Paisley and many other celebrities voicing roles of the New Testament. In 2008, Amari produced The Word of Promise Old Testament featuring more than 400 actors including: Jon Voight, Gary Sinise, Richard Dreyfuss, Max von Sydow, Malcolm McDowell, Joan Allen, John Rhys-Davies, Sean Astin, Marcia Gay Harden and Jesse McCartney. The Old Testament was combined with the New Testament and released as The Word of Promise Complete audio Bible in 2009 and has won numerous awards, including three Audie awards. The Word of Promise has become the #1 selling audio Bible of all time. In 2009, Amari produced The Truth & Life Dramatized Audio Bible: New Testament, a Catholic Bible featuring Neal McDonough, John Rhys-Davies, Malcolm McDowell, Kristen Bell, Blair Underwood, Julia Ormond, Brian Cox, Sean Astin and other celebrities. It was released by Zondervan Corporation, the largest religious publisher in the world. Amari secured an Imprimatur from The Vatican and a foreword by Pope Benedict XVI for The Truth & Life Dramatized Audio Bible: New Testament, which has become the #1 selling Catholic audio Bible in the world. In 2016, Amari produced The Breathe Audio Bible for Christian Publisher Tyndale House. Celebrities voicing roles include Ashley Judd, Josh Lucas, Kevin Sorbo, Hill Harper, John Rhys-Davies and Corbin Bleu. Amari currently produces a weekly radio series based on this audio Bible called The Breathe Radio Theatre hosted by Kevin Sorbo, heard on Christian radio stations coast-to-coast. In 2000, Amari produced the feature film Madison starring Jim Caviezel, Bruce Dern, Jake Lloyd, Mary McCormack and John Mellencamp. In 2001, Madison was invited by Robert Redford to be the opening film at Redford's prestigious Sundance Film Festival. Madison was later released worldwide by MGM. Amari also spends his time creating television series for Warner Brothers and Gulfstream Pictures. Amari's latest film projects include producing, Wireman, starring Scott Eastwood and Andy Garcia, a true-story set in 1978 Chicago and Crossed, a Zombie Post-Apocalyptic story by The Boys creator Garth Ennis. Both films will be released in 2025. Amari's company was twice named to the INC. 500 list of fastest growing privately-held companies. He was selected as one of Chicago's Very Own by Tribune Broadcasting and his business accomplishments have been highlighted in The Wall Street Journal, The Chicago Sun-Times, The Chicago Tribune, Variety, INC. 500, The Associated Press, Entertainment Weekly, The Washington Post, The Los Angeles Times and The New York Post. Ways to connect Carl: https://www.hollywood360radio.com/ https://classicradioclub.com/ https://ultimateclassicradio.com/ You can also provide my email address: Carl@ClassicRadioClub.com About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson ** 01:20 Well, hello to you all, wherever you may be, welcome to another episode of unstoppable mindset. Oh, it's always good to have an unstoppable mindset. I am really very joy today. I'm really happy because I get to have an hour to chat with someone who I've admired for a while, although I haven't told him that but he, I first heard him on a show. Well, he did a show called Yeah, on a program called yesterday USA, which is a program that plays old radio shows on now two different networks. They have a red network and a blue network, so they have emulated NBC, and they're on 24 hours a day, doing a lot of old radio stuff. And I've been collecting radio shows for a long time, although our guest, Carl has has done, in a broad sense, a lot more than I have. But anyway, he collects shows. He does a lot with master copies of radio shows, and I don't, don't have that many masters, but he's also done some other things. For example, in 2002 he acquired the rights from CBS and the Rod Serling estate to create Twilight Zone radio, and he is created versions for radio of all of the Twilight Zone broadcasts. The other thing that he did that I didn't realize until I got his bio, is that he created something else that I purchased from Audible, probably in 2008 or 2009 the Word of Promise Bible, where he got a number of entertainers and and special people and Celebrities like Michael York and others to create the Bible, and it's only 98 hours long. So you know, it takes a little while to read, but still, it's worth doing. So I would like to introduce you all to Carl Amari and Carl, welcome to unstoppable mindset. Michael, Carl Amari ** 03:14 thank you so much for having me. It's a real honor. Thanks so much. Michael Hingson ** 03:19 Well, the honor is, is mine as well. I really am glad that that you're here and we do get to talk about radio and all sorts of whatever comes along. Well, I want to start this way. Tell me about kind of the early Carl, growing up and all that well for an opening, yeah. Gosh, Carl Amari ** 03:35 that was a long time ago, but when I was 12 years old in 1975 I heard my first classic radio show. It was an episode of suspense, and it starred Cary Grant in a show called on a country road. Yeah, and I was at a sleepover at my friend's house, and we were kind of rowdy, as as 12 year olds will be. And his father had this show, I think it was on an eight track tape or a cassette tape, and he played it, and it was the first time I ever experienced theater of the mind. And I, you know, grew up watching Batman and the Twilight Zone and Wild Wild West, and I had never had anything, you know, that that really, really just blew me away, like hearing a radio drama where you hear the the actors performing, and you see the, you know, they have the sound effects and the music, and it creates this movie in your mind. And I was at a 12 as 12 years old. I was just completely just, you know, flabbergasted, and I wanted to learn all I could about classic radio and and so I spent, really my entire career, the last 40 plus years, licensing and putting out these radio shows, licensing from. The estates and putting them out on radio and on CD and digital download and so forth. Michael Hingson ** 05:06 Cool. Yeah, I remember on a country road the first show. Well, I remember a few times my parents were listening to radio in the early 50s, and I think one of the first ones I heard was Dick Tracy, but I don't even remember that, but I think it was 1957 in October or so. I was listening to the radio, and all of a sudden I heard, and one of my maybe it was 58 but anyway, one of my favorite songs at the time was Tom Dooley by the Kingston Trio, and this announcement came up that on suspense this Sunday would be the story of Tom Dooley. And I went, Oh, that's Oh, right, right. Listen to that. And I did, and I was hooked for the very same reasons that you were radio really presents you the opportunity to picture things in in your own mind, in a sense, the way you want. And what they do in the radio production is get actors who can draw you in, but the whole idea is for you to picture it in your own mind. So I did it with Tom Dooley, and I got hooked. And I was listening to suspense and yours truly Johnny dollar ever since that day. And then also Gun Smoke and Have Gun Will Travel came along, and then that was fun. Carl Amari ** 06:23 Yeah, those were those shows that you just mentioned. They were on still in the 50s. Because when you think of the golden age of radio, it was really the 30, late 30s all the way to the very early 50s, golden age of radio. But there were hangers on. There was Johnny dollar, and, like you said, suspense. And you know, some of these programs that were still on fiber, McGee and Molly, even, you know, Jack Benny, were still on during the 50s. And then, of course, most of the shows made the transition to the visual medium of television. But the eyes, I still say, you know, today, listening to these radio shows is more fun, and I think they're more impactful than the television versions. Oh, Michael Hingson ** 07:07 I think so by any standard. I think that's true. And gun Well, let's see. Suspense went into, I think 1962 Johnny dollar did, and suspense and Gunsmoke and Have Gun Will Travel. Started on television, actually, but then transitioned to radio. There were a few shows, a few of the plots that actually were on both, yes, but John Danner played Paladin on the radio, and that was fun. And then, of course, Gunsmoke as well. So they, they, they all went into the 60s, which was kind of kind of cool, yeah. Carl Amari ** 07:43 And usually they had, you know, sometimes they had the same cast, and other times a completely different cast, like with Gunsmoke, you know, William Conrad was Marshall Matt Dillon on on radio. And, of course, people remember him as canon on television, also Nero Wolf on television. But William Conrad, who was probably in more radio shows than anyone I can think of. Yeah, was, was Marshall, Matt Dillon, and then on on television, of course, James Arness, so yeah, and but then, you know, the Jack Benny Program, there was the same cast, you know, the very same people that were on radio, moved to television, same with Red Skelton and many of the shows, but other times, completely different cast. Michael Hingson ** 08:22 I was watching this morning when I woke up, me too. Let's see, was it me too? Yeah, was me TV? They're great and and they had Jack Benny on at 430 in the morning. I just happened to wake up and I turned it on. There's Benny season five, where he took the beavers to county fair. Of course, the Beavers are fun. And I've actually, I've actually had the opportunity to meet Beverly Washburn, which was, oh, sure, Carl Amari ** 08:52 sure. Oh man, Jack Benny, probably the high water mark of comedy. You know, when you talk about, you know, a guy that was on, he started in vaudeville, you know, and then he had his own radio show, his own TV show was in movies, and probably the most successful. And when you think about Seinfeld, right, when you think about the series, the television series Seinfeld, there's so many correlations between Seinfeld and the Jack Benny Program, you know Seinfeld. It was, was a comedian, you know Jerry Seinfeld, playing himself. He had this cast of Looney characters all around him. Same thing with the Jack Benny show. It was Jack Benny with a cast of Looney characters. And so it's probably was an homage, you know, to to Jack Benny. And Michael Hingson ** 09:39 I, I'm, think you're right. I think in a lot of ways, that probably absolutely was the case. And you know, there are so many radio shows that that, in one way or another, have have influenced TV. And I think people don't necessarily recognize that, but it's true, how much, yeah, radio really set the stage for so many things. Yeah, I think the later suspenses, in a sense, were a lot better than some of the earlier ones, because they really were more poignant. Some were more science fiction, but they really were more suspenseful than than some of the early ones, but they were all fun. Carl Amari ** 10:13 Oh gosh, suspense that's now you're talking about, I think the best series of all time, you know, because it was about almost 1000 episodes. It lasted from 42 to, I believe, 62 or 63 and and it had, for a time, there was a lot of true stories on suspense when Elliot Lewis took over. But yeah, you're right. It had the best actors, the best writers, the best production values. So suspense to this day. You know, I think is, of all the shows was, was one of the best, if not the best. Michael Hingson ** 10:45 Oh, I agree. I can't argue with that at all. And did so many things. And then for at least a summer, they had hour long suspenses, but mostly it was a half hour or Yes, later was 25 minutes plus a newscast, right, Carl Amari ** 10:59 right, right? It didn't seem to work in the hour long format. They only did a handful of those, and they went back right back to the half hour once a week, you know. But, yeah, no suspense, one of my favorites for sure. Michael Hingson ** 11:13 Oh, yeah. Well, and it's hard to argue with that. It's so much fun to do all of these. And you know, on other shows in radio, in a sense, tried to emulate it. I mean, escape did it for seven years, but it still wasn't suspense, right, Carl Amari ** 11:27 right. Closest thing to suspense was escape, but it was never and I think because you know, as as you know Michael, but maybe some of your listeners don't realize this, these actors, these big actors, Humphrey Bogard and chair, you know, James Stewart and Cary Grant, they were, they were studio, they were under a studio contract. So they weren't like today, where they were freelance. So when, like, let's say, Jimmy Stewart was being paid, I'll just make up a number $5,000 a week to be under contract to make movies when he wasn't making a movie, they wanted to make money on this actor, so they would loan him out to radio. And these actors were on suspense, like on a routine basis, you had movie stars every week appearing on suspense, the biggest movie stars on the planet. So and you would think, well, how could they afford these movie stars? Well, because the studios wanted to make money when their actors weren't working, right? Michael Hingson ** 12:23 And and did, and people really appreciate it. I mean, Jess Stewart, yeah, even some of the actors from radio, like fiber began, Molly, yeah, on a suspense. And they were, that was a great that was a great show. But, oh yeah, Carl Amari ** 12:38 back, I think it was back, right? Yeah, yeah, which Michael Hingson ** 12:41 was really cool. Well, you license a lot of shows from, from people tell me more about that. That must be interesting and fascinating to try to negotiate and actually work out. Well, Carl Amari ** 12:52 early on, when I was in college, you know, as a communications major, and I learned very early on that these show, a lot of these shows are, copyrighted so and because I was actually sent a cease and desist letter on a college station just playing a show. And so that was, and it was from Mel blanks company, man of 1000 voices. And he his son, Noel, helped me learn, you know, taught me that, hey, you know, these shows are were created by, you know, the the estates, you know, the that were still around Jack Benny and, you know, CBS owns a ton of stuff and different, you know, entities that own these shows and and he helped, and he introduced me to a lot of people, including Jerry Lewis and Milton Burrell and and so I spent My early career in my 20s, flying back and forth to LA and New York and licensing these shows from like Irving Brecher, who created the life of Riley and the Jack Benny estate. And, you know, golden books at the time, owned the Lone Ranger and so licensing that and Warner Brothers, you know, DC for Batman and so, and Superman, I mean, which had Batman on it, but Superman, I licensed those. And, you know, MCA universal for dragnet and the six shooter and so on and on and on and and I spent, as I say, my early career licensing. I now have over 100,000 shows under license, and mostly from Master transcriptions, because I only like to collect from the master source, because we put them out through a club, the classic Radio Club, and I air them on my I have a national radio show called Hollywood 360 we air them every week, five shows every week on the network. There's over 100 stations, including Armed Forces Radio and and so I want the quality to be impeccable. I don't want dubs of dubs or, you know, cracks and pops. And I really want to give people what it sounded like back then when they aired Michael Hingson ** 14:54 and well. And you you can sort of do that, but the sound is probably even better today. With the audio equipment that people have access to, yeah, the sound is even better than it was. But I hear what you're saying, and it's cool to listen to those, and they're not stereo. Oh, that would be interesting to to try to reprocess and make that happen, but the audio is incredible. Yeah, Carl Amari ** 15:16 yeah, that's kind of what our, you know, our trademark is, Michael is, you know, if you're listening to Hollywood 360 which, as I say, is on a lot of stations across the country, when you listen to that show, and in every hour, we play a we play a show, you know you're going to get something that sounds just, is like we're talking right now. You know that's that's important to me. Yeah, Michael Hingson ** 15:37 well, and I can appreciate that, and it makes perfect sense that it is because we should really preserve the the programs, and we should do what we can to make them sound as good as we can, and we should really get that high quality. And the high quality is there, yes, just not always what people find, and people are willing to, well, accept less than what they should, yeah, Carl Amari ** 16:01 well, I, you know, I grew up collecting from where I wherever I could. But then, when I started licensing them, I would get the masters from the, you know, whoever owned them. And then I also have about a half a dozen collectors that only collect on 16 inch disc, which is kind of great. And so if I have, let's say, you know, suspense and and I'll, you know, let's say, you know, because we license that from CBS. But if CBS doesn't have a certain show, but a collector on disc has it, I'll get that from the collector and still pay the royalty the CBS because they own it. But I'll get that, that disc from a collector. And, you know, we, and it's a cost of doing business, but we'll get it transferred and and put it out to the public that way. Michael Hingson ** 16:46 Typically, what are the discs made of? So Carl Amari ** 16:49 they're, they're like, uh, they're like a shellac. I mean, they're, they're like, a glass. Some of them are actually glass, Michael Hingson ** 16:55 yeah, you know, some of the Jack Benny shows were glass, yeah, Carl Amari ** 16:59 and acetate and things like that. And so I there's one gentleman that's in in Redding, California, Doug Hopkinson, who is just an expert on this, and he does most of the transfers. We recently licensed 41 different series from Frederick zivs estate. And you know, we're talking the entire collection of Boston Blackie bold venture with Humphrey Bogart and Lauren Bacall, Philo Vance, with Jackson Beck, Mr. District Attorney, and I was a communist for the FBI. And Doug is actually doing they're all on they're all zivs Personal discs. Frederick Ziv, he had them. There's 10,000 more than 10,000 discs in a controlled warehouse in Cincinnati, and we are slowly but surely working our way through 10,000 shows. And Doug is doing all those transfers. So he's a busy guy. Does he go there to do it? No, we have him sent. So you do cardboard boxes. Yeah, yeah. To California. And then Doug has two, you know, it's special equipment that you have to use. I mean, it's very, very it's not just a turntable, and it's a special equipment. And then, you know, we get the raw file, you know, we get the, he uses the special needles based on that album, you know, or that disc he has, you know, a whole plethora of needles, and then he tests it, whichever gets the best sound out of there. So, yeah, he's really, he's tops at this. And so we're doing those Troy, we just transferred all the, I was a communist for the FBI with Dana Andrews, yeah, and all the Boston blackies, which is one of my favorites Michael Hingson ** 18:40 and bold venture. And, yeah, I have those, good man, so I know that it's interesting. You mentioned the needles. So for people who don't know, in order to get a program on one disc, the transcriptions were literally 16 inches. I mean, we're all used to LPS or 12 inch disc, but the radio transcriptions were 16 inch discs, right? Carl Amari ** 19:05 And that held 15 minutes. And now you needed two discs, yeah? So generally, you needed two discs to give you one show, unless it was one on one side and one on the other side. But a lot of times it was, it was, it was two discs for one show, yeah, and then, and then, on the opposite side, you'd have another show. One Michael Hingson ** 19:24 of the things that I got the opportunity to do was to collect my dad knew somebody when he worked at Edwards Air Force Base that had a number of 16 inch transcriptions, and I had a turntable. Wasn't great, but it served the purpose for a college kid. And one of the things I discovered was that there were a few recordings that, rather than putting the needle on the outside and the record spins and plays in, you actually start from the inside and go out. Carl Amari ** 19:56 Yes, I've seen that, yeah, and I'm told we're that way. Yeah, Michael Hingson ** 20:00 I'm told that they did that because the the audio quality was actually better. Doing it that way, really? Yeah, I didn't know that. I didn't know, but that's what I was told, was that the audio quality was even better. Wow, Carl Amari ** 20:11 yeah. I mean, it's a skill, you know, because with we really have one shot to get these 10, you know, these, these discs and and and we were getting them from, from literally, Frederick zivs Personal. They were, I told, like the first one off the duplication line. When he would, he would bicycle the discs all around the country. We're not using discs that were ever touched by radio stations. In fact, a lot of them, we have to drill out the holes in the middle because they've closed up a little bit. So these have never been played. They're unplayed. His master discs that are unplayed and and if you have the bold venture, you know what we were able to pull off those masters, it's like high fidelity. Mon Oro, Michael Hingson ** 20:56 yeah. They're as good as it can get. And they do, they sound really great. Well, even the Boston blackies are good. Yeah, Carl Amari ** 21:02 oh yeah, yeah. I'm excited about that, because that, that's one of my favorite shows Boston. Michael Hingson ** 21:07 I like Boston Blackie and yeah, and I like, I was a communist for the FBI, and I haven't gotten those yet, but I'm waiting to get Dana Andrews that whole Carl Amari ** 21:15 they just shipped. So there you should be getting them, Michael. So thank you for that. They'll Michael Hingson ** 21:20 be they'll be coming, yes, which is pretty cool, but it is so fun to have the opportunity to listen to all these and I really urge people, the easy way is you can go to places like yesterday usa.net, online and listen to a lot of radio programs, but you can go to Carl's website, or when he can tell us how to do it, and you can actually purchase the opportunity to get copies of some of these shows, and they're absolutely fun and worth doing. Carl Amari ** 21:54 Yeah, thank you, Michael. We are. We have, you know, our radio show has a website. You can learn about our radio show that's that's easy. It's Hollywood. And then 360 so Hollywood, 360 radio.com, that's like my and you can reach me, but there's ways to contact me through there. And then we, I think I mentioned we offer these through a club, which is pretty cool, because what I do every month is I'll comb the library of we have over 100,000 shows, and I'll take, I'll pick 10 shows every month and put them either on five CDs with a booklet, historical booklet, and it's in a nice case. And you get about every 30 days, CD members get a new 10 C 10 show five CD set in the mail, or you can get those same shows via digital download. So if you don't want the CDs, you just want a link sent to you there, they're done that way too. And that's classic radio club.com and all of the information is there at Classic radio club.com and as I say that that we put out only the best quality there, like, the best quality you could possibly get, which, Michael Hingson ** 23:04 which is so cool, because I have heard some of those programs as you say that they're dubbed or people, for some reason, have the wrong speed. They're not great quality, right? So frustrating. Yeah, there's no need for any of that. And some people, of course, cut out the commercials, not being visionary enough to understand the value of leaving the commercials in, right? And again, they didn't do a very good job of cutting them out. Carl Amari ** 23:31 No, we leave everything in. Even, you know, it's so interesting to hear cigarette commercials, or, you know, all you know, vitamin commercials, like, you know, you know, ironized yeast presents, lights out. You know, it's fun. It's fun to hear, you know, these commercials. And sometimes, like on the dragnets, when they're talking about Chesterfield, they're like, oh, doctor recommended, you know, and all this. Michael Hingson ** 23:55 Well, even better than that, I was just thinking the Fatima cigarettes commercials on dragnet. Yeah, research shows, yeah, I wonder where they got that research, Carl Amari ** 24:07 yeah. Oh my gosh. They were, they were, it was crazy how they would do that. I mean, they got away with it. They did. They did. They did. And, you know, we, even when we air radio shows, we don't cut the commercials unless it's cigarette commercials, because there's an FCC rule that you can't hear cigarette commercials. But like, you know, when we play Jack Benny and there's and there's, you know, Grape Nuts flakes commercials, we leave it in. We want people to hear the Fun, fun of those commercials and things well, Michael Hingson ** 24:36 and sometimes, of course, like with great nuts flakes commercials, the commercial is part of the program. Yes, it's integrated. Break away. It's all integrated in which makes it so fun. I didn't know that there was an FCC rule that said you can't air any cigarette commercials even for educational purposes. Carl Amari ** 24:55 Well, it might be for educational purposes. It may be non commercial, but I know on commercial stage. Stations, I can imagine that. Yeah, yeah. And Hollywood, 360 is commercial, you know, we have sponsors like, you know, we have Prevagen is one of our big sponsors, cats, pride, kitty litter, and, you know, they've been with me forever. And, you know, whatever, the Home Depot, Geico, you know, my pillow, these are some of our sponsors. And, and so we're on commercial stations across the country. Michael Hingson ** 25:21 Yeah, so it makes sense that that you you do it that way, which, yeah, you know, is understandable. But, boy, some of those commercials are the Chesterfield commercials. Accu Ray on Gunsmoke. Yeah? Carl Amari ** 25:37 A gimmick to get you to buy their cigarettes. Michael Hingson ** 25:39 Yeah, I bet there was no accuray machine, but, oh, probably not, probably not. It is so funny. Well, you did the Twilight Zone radio programs. What got you started on doing that? Carl Amari ** 25:53 Well, you know, growing up, I think I mentioned earlier, it was one of my favorite shows, yeah, always mine too, you know. And just watching that I was so blown away by twilight zone as a kid. So then when I got into the licensing of these classic radio shows, and I I was, I guess I was just always really envious of these producers that got to do these radio shows. And I always thought, man, I was. I was born in the wrong decades. You know, I was, I wish I was around back in the 40s and was able to produce suspense or escape or one of these shows. And I thought the show that would work the best, you know, that was on television, that that would work great in the theater of the mind realm, would be twilight zone, because growing up watching, you know, the makeup wasn't that great and the costumes weren't that great. You could see the zippers on the Martians sometimes. And I thought, you know, the writing was so amazing, right? And the stories were so vivid, and it worked for your theater of the mind that you didn't really need the visual with Twilight Zone, especially if you, you know, you have to write them in a way for radio. There's a special technique for writing for radio, obviously. So I, I reached out to to CBS and the rod Sterling estate, and they thought it was cool. And they said, you know, what do one, we'll let, we'll let, we'll take a listen to one, you know. And they sent me the television script for monsters are due on Maple Street. That was the one they sent me. And at the time, I was trying to get Robert Wagner to be the host. I always liked to take the thief and and, and he thought it was interesting, but he passed on it ultimately. And, and then at the same time, I was working with Stacy Keach, senior, Stacy keach's Dad, who had created Tales from the tales of the Texas range Rangers, right? And, and, and so I was at, actually at Jane Seymour's house, because Jane Seymour was married at that time to Stacy's brother, James Keach, and I got invited to a party there. And I got to meet Stacy Keach and and I heard his voice up close, you know, standing next to him, and I was like, this is the guy I gotta get to be the host. And so I started telling him about what I was doing, and he's like, I'd love to be the host of that. And so that was the beginning of a lifelong friendship with Stacy, and he was just incredible on it. And we did one, we did a pilot, monsters are doing Maple Street. And they loved it. And said, go ahead. And that was it. And it was like, in 2002 Michael Hingson ** 28:29 the first one I heard was, if I remember the title, right, a different kind of stopwatch, okay, the one with Blue Diamond Phillips, Blue Diamond Phillips, that was the first one. I think you. You offered that as a, as a sample. Yeah, yes, when I got that was pretty cool. But you Carl Amari ** 28:43 wouldn't believe Michael, how many whenever I would reach out to an actor like Jason Alexander, I mean, Jay, I remember Jason, when I reached out to him and I said, Hey, I'd like to you to do these. And he was like, Oh, I'd love it. And then he did it, and then he'd call me and say, You got any more of those? Love doing it, you know, because they never get to do this. They, you know, these actors don't get to do radio. And so people like, you know, Lou Diamond Phillips and Luke Perry God rest his soul, and and Michael York and Malcolm McDowell and, you know, Don Johnson and Lou and Luke Luke Gossett Jr, so many of these people that I reached out to, Jane Seymour, another one, they were just they were they couldn't say yes fast enough. They just loved doing radio drama. It was so easy to book these stars. I've Michael Hingson ** 29:38 been talking with Walden Hughes, who, you know, is the guy who now runs yesterday USA, we've been talking about and we've been doing recreations of a number of shows. The problem is that the people who are involved, oftentimes have never really gone back and listened to the shows they're recreating and their voice. And what they do are so different than the kinds of things that you actually would hear on the shows, they just don't do it very well. And we've actually thought about the idea of trying to get a grant to try to teach people how to be radio actors and really learn to do the kinds of things that would make the shows a lot more meaningful. We'll see what happens. We're really working on it. We're going to be doing some recreations in Washington for enthusiasm. Puget Sound, yes, and one of my favorite radio shows has always been Richard diamond private detective. I thought such a wise guy, and so I am actually going to be Richard diamond in Nice, Carl Amari ** 30:46 oh my gosh, yeah, wow. Well, you know, there's a real, there's a real special magic to doing these radio shows, as I know, you know, you understand, you know, there's, there's, and that was that really boils down to having great actors and also great writing like so CBS would send us. He would, they would send me the our the Rod Serling scripts, you know, we really, we'd get them, but they, of course, would not work on radio because it was written for a visual medium. So I had, I had a two time sci fi fantasy winning writer Dennis echeson, who is no longer with us, unfortunately, but he, he, he was an expert on Twilight Zone and also how to write for radio. And it's all about that it's taking that he would take the TV scripts and and redo them so that they would work without the visual, and that you start with that. And then you can, you know, then you can create, when you have a grin, you have a great group of actors. And I hired only the best Chicago supporting cast here, you know, the the Goodman theater and, and, you know actors and, and, you know people like that. And then, of course, the star, we'd fly the star in, yeah, and they, they knock out two shows. I bring in lunch in the middle of the day, we'd knock out two shows. And it was a wonderful experience doing like, I don't know, I think I did, oh gosh, close to 200 episodes. Michael Hingson ** 32:13 Now, were some of the episodes, shows that never were on the the TV series, or they, yeah, when Carl Amari ** 32:19 we got through the original 156 shows, because that's how many were in the original Rod Serling run. So we did them all. We actually one of them I never released because I wasn't happy with it. I think it was called come wander with me. So that one I never released, we did it. I wasn't happy with it, because it was a musical one, you know, I think it had Bob Crosby on it, or somebody like that, and on the TV show, and so it was a lot of singing, and I just wasn't happy with it. But after that, there was no no more. I could have gone into the later series, but I just, I said to them, can I hire writers to write new ones, you know? And they said, Sure, but we have to approve it and all that. And so a lot of them got approved, and a lot of them didn't. And then we, we, I think we produced maybe close to 4030, or 40 originals, Michael Hingson ** 33:13 right? Yeah, did you ever meet Rod Serling? No, never Carl Amari ** 33:18 did. He was gone before I got into this. Yeah, Michael Hingson ** 33:22 he came to UC Irvine to lecture once when I was still on campus. I was actually Program Director of the radio station, and so several of us from kuci got to interview him. And one of our, the people who was involved with that, actually had one of the ape costumes from Planet of the Apes. So he came dressed up as one of the Apes. Was Wow, but great. But the thing about rod Sterling his voice is it's hot. How do I describe this? No matter what his voice sounded like on television, it wasn't nearly as deep as his natural voice, and microphones couldn't get the same level with his real voice, and so we interviewed him. His voice was very deep, and then we did then we went out and listened to the lecture at the gym, and he sounded like Rod Serling, but he didn't sound like Rod Serling when we were talking with him, yeah, and when we could hear him with our ears, when it came out on on the show that we did the interview, it again, sounded like Rod Serling, but just the microphone. Couldn't really get the full breath of his voice, which was sure, Carl Amari ** 34:35 yeah. I mean, what a talent, right? I mean, and then he had that show, Zero Hour, zero hour, right? Yeah, radio. And that was an interesting series, too. He tried to bring back the and he didn't. It was a, I think it was a fine job. You know, good job. Yeah. There were others, you know, CBS Radio, mystery theater, of course, diamond Brown. And there were some other ones. But I. I'm real proud, really, really proud of The Twilight Zone. I think they're, they're, they're, I mean, they're not nothing is as good as the way they did these the shows in the golden age. I mean, I don't think anyone can get to that point, but they're, I think they're pretty close, and I'm very proud of them. Michael Hingson ** 35:15 Oh, yeah. And, but it still is with the Twilight Zone. It's really hard to compete with that, my favorite Twilight Zone, and for me, it was tough because I never knew the titles of the shows, because they would show you the title, but I could never, never really hear them. But when I started collecting and got access to, like your your radio Twilight zones and so on. I started to learn titles, and so my favorite has always been valley of the shadow. Oh, great one. Yeah. I just always thought that was the best of the it was an hour long instead of a half hour. But I Yeah, on TV. But I always thought that was just so innovative. I Carl Amari ** 35:57 think Ernie Hudson did that one for me. I'm trying to think, but yeah, there was, we had, we had so many incredible actors on it. I mean, it was, it was a real fun, you know, four or five years that I was doing those, lot of fun doing them. Yeah, Michael Hingson ** 36:12 you had several with Stan Freeberg. And, of course, yes, who don't know Stan Freeberg was definitely very much involved in radio, especially in the 50s, late 40s, with, that's rich, but mostly in the 50s, a satirist and incredible humorist and entertainer. But he did several Twilight zones. Carl Amari ** 36:31 He did, you know, yeah, I was working with him on, you know, I created the show when radio was, which is still out there today, and and when radio was I ever initially had art Fleming as the host, you know, the original host of original Jeopardy guy, yeah. And then when art passed away, I hired Stan Freeberg, and Stan was the host of that show for many years. And then, then, when I started doing Twilight Zone, I said, Hey, would you like to do some of these? And he's like, Yeah, I'd like to do them all, yeah. Let me have all the scripts. But the one that he did that I think, is just off the charts amazing, is called Four o'clock ever, yeah, one, yeah, yeah. That is just the most interesting show, The Twilight Zone episode that we did where he plays this kind of a loony, a loony guy, who is that? What you describe him as, narking on everybody doesn't like anything, like anybody or anything, no, and it's so and he calls people and harasses them and oh my gosh, and he says, I'm gonna shrink everybody to four inches tall at four o'clock. Four o'clock, right? Yeah, and it's just, oh my gosh, what a what a great episode. It's one of my favorites. Michael Hingson ** 37:48 And of course, if you think about it, listening people out there who got shrunk at four o'clock, Carl Amari ** 37:56 well, let's not give it away, but yes, I think you can figure it out. Michael Hingson ** 37:59 I think it's pretty, Carl Amari ** 37:59 easy to figure out, but, and I actually played, I actually played a role in that episode. I played the bird. I did all the bird sounds on that episode. And so I feel like I had a co starring role, because, yeah, he had a parrot. You know, that was every time you would say something. And I played that, that part on there. But Michael Hingson ** 38:22 yeah, all the Twilight zones were, were so clever, yeah, and, and I love listening to them. I I have a an mp three player that I carry on airplanes, and I have audio copies of all the Twilight zones. So every so often as I'm flying somewhere or two on and listen there, Michael, Carl Amari ** 38:43 I'm so glad to hear that. Oh, man, you make me so happy to hear that. So Michael Hingson ** 38:47 fun. And you know, another one of my favorites was, will the real Martian please stand up now? Yeah, that was cute, and I won't give it. Oh, Carl Amari ** 38:57 great. So great. Yeah, I sent trying to think who the actor was in that one, but it's been a while, but that's a great one, yeah. And I remember, you know, watching it on TV and and thinking, Oh, this would work on radio. So great, you know, so love doing them. Yeah, I'd love to do more. I might consider coming back and doing more. I mean, originals, you know, might be a lot of fun to do those again, I was Michael Hingson ** 39:21 going to ask you if you've got any plans for doing anything future. You know, in the future might be interesting, and there's a lot of leeway, of course, to take it in different directions. Do x minus one, but you don't have to do the same stories, even, although, yeah, a lot of good stories in in the original x minus ones on for those who don't know x minus one is a science fiction series. It was on from what 1955 through 1957 I Carl Amari ** 39:49 believe, yeah, it was a great series. Sci Fi really lends itself really, very well to radio drama. You know, in theater of the mind, it's great because you can, you can go in. Anywhere you land on any planet. And you know, it's very easy to do on radio, where it's tough to do on TV. You know, you have to spend a lot of money to do that. So, I mean, Stan Freeburg proved that with his with his giant ice cream Sunday. Michael Hingson ** 40:15 All right, go with the marasino Cherry. For those who don't know, is that he said, we're going to empty Lake Michigan now. We're going to fill it up with whipped cream. We're going to drop a maraschino cherry into it and other things. He said, You can't do that on TV. Carl Amari ** 40:31 Try doing that on television. Yeah, he was something. He was so much fun to wear. Of all the people that I've met over the years, you know so many of these radio stars, and I've interviewed so many hundreds of them, really, over the years, I'd have to say I have a special place in my heart for Stan the most, because I got to work with him for so many years, and we used to just go to lunch together all the time, and and he had a, he had a, he had a, what was it again? Now? Oh, oh, I'm trying to think of the car that he drove, a jaguar. It was a jaguar, and it was a and we used to drive around in his, his big Jaguar all around LA, and just have so much fun together. And I just loved working with Stan. He was such a great man. I Michael Hingson ** 41:17 never got to meet what would have loved to Yeah, Jack Benny and Jimmy Durante, oh my gosh, yeah. And, of course, Stan Freeberg, but yeah, you know, I wasn't in that circle, so I didn't write that. But what, what wonderful people they were. And, yeah, Carl Amari ** 41:32 George Burns, George Burns used to, yeah, George used to take me to the Hillcrest Country Club, and we would just have the best time. He just thought it was the most interesting thing that a young guy in his 20s was so passionate about, you know, those days. And he we would just talk for hours. And I used to go to his office in Hollywood and in his and we would just sit and talk. And I have pictures of of those, those times I have them in my office, you know, he and I together. He was like a mentor to me. He and Stan were both mentors. Michael Hingson ** 42:05 Did you get recordings of many of those conversations? Yes, I do. Carl Amari ** 42:08 I do have quite a few with with George and Stan. Yeah, Michael Hingson ** 42:12 it was great, you know, yes, nothing like talking to God, that's Carl Amari ** 42:16 right. And he had a coffee cup in his office. It's it was a white coffee cup, and it had God on it, and black to drink out of that coffee cup. And he had, I was to say, when I first, my first time, I went to his office in Hollywood, you know, he was a real long office, narrow with is all paneling, and there was all these beautiful pictures, like photos of all the people he and Gracie had worked with. And then there was this beautiful painting of Gracie above him, you know, where he was sitting at his desk. And I remember walking in. I said, Hi, George, because I had talked to him on the phone a lot of times. And he said, Ah, come on in, you know. And I said, Oh, man, George, these photos are amazing on the walls, looking as I was walking towards his desk. And he says, You like those pictures? I said, Yeah. He goes, everyone in those pictures is dead except for me. I knew him the last about four years of his life. From that, from he was 96 to 100 I knew George, and we'd, we'd go Michael Hingson ** 43:16 to the Hillcrest together. It was fun. Did you meet or get to know Bob Hope, never Carl Amari ** 43:21 met Bob Hope No, because he lived, what, two, yeah. He lived 100 Yeah. Never met Bob Hope No. Michael Hingson ** 43:27 And Irving Berlin got to 100 Yeah, yeah. But so Carl Amari ** 43:30 many, I mean, Jerry Lewis, and so many others that that, I mean, Jerry was so great. I mean, you know, probably one of the most talented people to ever live, you know, and he could even sing, and he could, he could do it all. I mean, he was something. I mean, I was in such awe of that man. And we, he was very kind to me, licensed me to Martin Lewis and all that. So, yeah, Michael Hingson ** 43:52 we saw one of my favorite musicals. I originally saw it as a movie out here on K Shea was the million dollar movie. It was Damn Yankees, Carl Amari ** 44:03 damn Yeah, he was on Broadway. Did that on Broadway, and he did it on Broadway, Michael Hingson ** 44:07 and we read about it. And his father, he had how his father said, You'll really know you've arrived when you get to do something on Broadway. And that was the only thing he ever got to do on Broadway. And we did get to go see it. We saw, Oh, wow, yeah, Carl Amari ** 44:20 Broadway, amazing, yeah, amazing, yeah, yeah. Michael Hingson ** 44:24 I'm so sad that there was so much acrimony for so many years between him and Dean Martin, yeah, which was really probably brought on more by all the people they worked with that, yes, that cost a whole lot more than them. But yeah, near the end they, they did deal with it a little Yeah? Carl Amari ** 44:42 They, they got back together a little bit. Yeah, yeah. He was an interesting guy, Boy, I'll tell you. You know, just talking to him, I learned so much, learned so much over the years. Michael Hingson ** 44:53 Yeah, yeah. It's so much fun to to be able to do that. Well, I really do hope you do get. To do another show, to do something else. And you're right, there's nothing like science fiction in terms of what you can do, and maybe even doing a series, yeah, yeah, as opposed to individual shows. One of my favorite science fiction books by Robert Heinlein is called the Moon is a Harsh Mistress, and I would love to see somebody dramatize that. I think it would take, probably, to do it right? It's going to take about 15 hours to do but, oh, wow. What a great what a great thing. If you've never read it, read the book, it's really, oh, I Carl Amari ** 45:30 haven't, so I'm not familiar with it, so I'll give it a read. The Moon is a Harsh, missus, Michael Hingson ** 45:34 yeah, yeah. Pretty clever. A computer helps organize a revolution on the moon, which was being colonized and run from the lunar authority on earth. Here's what gives it away in 2075 subtract 300 years. Yeah, it's all about the same thing, like the revolution here, but a computer, Mycroft wakes up and helps organize the revolution. It's really pretty clever. Oh, wow, Carl Amari ** 46:04 that would be fun to do in a series. Yeah, it Michael Hingson ** 46:08 would be worth doing. But, but, yeah, I've always enjoyed the book. Robert Donnelly read it as a talking book for blind people. Oh, okay, okay, yeah. So I actually have it. I'll have it, I'll have to find it. I could actually send you the recording. You could listen to it. Oh, please do. I'd love that. We won't tell the Library of Congress, so we will know much trouble. Carl Amari ** 46:33 But you know, then I kind of, you know, my other passion is the Bible. Yeah, I was gonna get to that. Tell me, yeah. I was just gonna, you know, and so a lot of these same actors that did, you know, Twilight zones and things for for me, I just, I met, like Jason Alexander and so many of these people, Lou Gossett Jr, when I decided to do the to dramatize the entire Bible on audio. A lot of these same actors and many, many, many more, were really, were really great to be in that too. It was a lot of fun. Michael Hingson ** 47:06 Yeah, well, very recognizable voices, to a large degree, like Michael York, Carl Amari ** 47:12 yes, yes, he was the narrator. So he did the most. He worked the longest. What a great man. Just an amazing actor. He was the narrator. And then you know Jim Caviezel, who played Jesus in the Passion of the Christ, played Jesus in it, right? And then you know Richard Dreyfus was Moses John Voigt was Abraham. Max von Saito played Noah John Rees Davies was in it. I mean, we had, we had, I mean, Marissa Tomei was Mary Magdalene. I had many, many Academy Award winners in it, and so many people, you know, was in it. That was a four year deal that took me four years to do the full Bible. Yeah, 98 hours on audio, fully scored the whole thing. Michael Hingson ** 48:01 Well, you had a great publisher put it out. Thomas Nelson, Yes, yep. They also did my first book, Thunder dog. So can't complain about that too much. No, Carl Amari ** 48:10 they know how to market. It Was it, was it, I think, I think today it's still the number one selling dramatized Audio Bible in the world. I believe, you know, so it's, it's been a big success for Thomas Nelson, yeah, that was, that was, that was quite, I mean, you should have seen what my passport looked like when I did that. I mean, it was stamped for every country all over that I was going and, you know, and having to produce, because a lot of the actors, like, you know, John Reese Davies. He lives in, he lives in the Isle of Man, and, you know, and then, you know, Max von Saito was nice France, and we scored it in Bulgaria. And, I mean, you know, it was just crazy and traveling all over the world to make that audio. But you've done some other Bibles in addition to that. I have, yeah, yeah, I have. I've done, think I did. Now it's like five different ones, because I like doing different translations, you know, because it's different. I mean, even though it's the same story, the translations people people have translations that they love, you know, whether it's the RSV or it's the New Living Translation or the Nkj or, you know, and so I, I've enjoyed doing them in different translations. That's Michael Hingson ** 49:25 pretty cool. Do you have any, any additional, additional ones coming out? Carl Amari ** 49:29 No, no, I've done, I've done done, like, five and, and so I'm more doing, you know, more concentrating now on my radio show, Hollywood, 360, and, and some movie production stuff that I've been working on. And then I'm one of the owners of a podcast company. So we're, we're always putting out, you know, different podcasts and things. And so my plate is very full, although I would love, I think I would love to do some. Thing, like, what you're saying, like, either more Twilight zones, or maybe something like that. It might be, you know, I'd love to do something in the theater or the mind, you know, arena again, too, because I love doing that. Yeah, Michael Hingson ** 50:11 I think it'd be a lot of fun to do. Tell me about the podcast, Carl Amari ** 50:15 yeah. So, um, so we have a podcast company called Gulfstream studios, and we have our main, our main podcast is a is, is. So we're, we, we do a show called, well, there's, there's several podcasts that we're doing, but, but it's the spout is the is the one that's a music oriented we have all the biggest music artists on there. It's really great. So spout is the name of that podcast. And then we're working on, we're working on a Bible podcast. We're going to come out with some a Bible podcast pretty soon. I'm real excited about that more soon. Hopefully you'll have me back when we launch that. Well, yeah, and then, you know, we have, we're always looking for any so I'm ready to, I'm ready to take your podcast onto our platform. Whatever you say. Michael, oh, we'll have to, Michael Hingson ** 51:10 we'll have to look at that and work it out. But in the meanwhile, I said earlier, I'd love to come on any of the podcasts that you want. And if, yeah, have you read thunder dog, Carl Amari ** 51:19 no, I didn't know. I didn't have not read it. No. So thunderdog Michael Hingson ** 51:23 was my story of being in the World Trade Center and getting out and so on. But you should read it, because there are also some, some really poignant parts, like, just to briefly tell that part of the story, I'll send you a video where of a speech I've given, but one of the parts of it is that, as I was running away from tower two, as it was collapsing, because we were at Vesey Street and Broadway, so we were like 100 yards away from tower two when it came down, I turned and ran back the way I came. And as I started to run, I started, I said to myself, and I stayed focused pretty much. But I said to myself at that point, God, I can't believe that you got us out of a building just to have it fall on us. Right? I heard a voice as clearly as we are hearing each other now in my head that said, don't worry about what you can't control. Focus on running with Roselle and the rest will take care of itself. Wow. And I had this absolute sense of certainty that if we just continue to work together, we would be fine. We did, and we were but I am very much a a person who believes in the whole concept of God. And for those who who may disagree with me, you're welcome to do that. You'll you'll just have to take that up with God or whatever at some point. But I would love to really explore anytime you you need a guest to come on and be a part of it, and who knows, maybe I'll be good enough to act in a radio show you do. Carl Amari ** 52:49 I'm sure you would be, sure you would be Michael, but it would be, yeah, but it would Michael Hingson ** 52:54 be fun to do. But I really enjoy doing all this stuff, and radio, of course, has become such a part of my life for so long, it has helped me become a better speaker. Was I travel and speak all over the world? Carl Amari ** 53:10 Yeah, wow. Well, I'm a big fan of yours, and, and, but I'd love to read the book, so I'll order it. Can I get it off of Amazon or something like that? You can get Michael Hingson ** 53:19 it off of Amazon. You can get it from Audible, okay, or wherever. And then I wrote, then we wrote two others. One's called running with Roselle, which was really intended more for kids talking about me growing up, and Roselle my guide dog at the World Trade Center growing up. But more adults buy it than kids. And then last year, we published live like a guide dog. True Stories from a blind man and his dogs about being brave, overcoming adversity and moving forward in faith, and that one is really about people need to and can learn how to control fear and not let fear overwhelm or, as I put it, blind them. And you can actually learn to use fear as a very powerful tool to help you function, especially in emergencies and unexpected situations. And so live like a guide dog uses lessons I've learned from all of my guide dogs and my wife's service dogs, Fantasia that have taught me so much about learning to control fear. And I realized at the beginning of the pandemic, I've talked about being calm and focused getting out, but I've never taught anyone else how to do it, so live like a guide dog is my solution for that, which is kind of that, that, Carl Amari ** 54:26 that I'm sure helps a lot of people, you know, that's because fear is, is, it's, it's debilitating, you know? So, yeah, well, that's, but it doesn't need doesn't need to be, that's right, that doesn't need to be, yeah, it's one of the reasons why I wanted to do the Bible stuff, because I learned at a very early age that these theater, these radio shows you under, you listen and you actually interpret them and understand them deeper with the theater of the mind than watching them on television or reading them like, like. I think even reading a book as great as that is, if you heard it dramatized on radio, it's even more powerful. I and so I knew that if I took the Bible, which is the greatest book of all time, and it was dramatized in a way, in a kind of a movie quality way, with sound effects and music and wonderful actors that I thought people would get a deeper meaning of the word. And I think we it. We were successful with that, because so many people have written about it on Amazon and things and saying like I, you know, when I heard the Word of Promise, and when I heard this audio, I had to go and get my Bible and see, does it really say that? You know? So here's people that had read the Bible many, many times, and then they heard the dramatization of it, and were like, wow, I didn't even realize that, you know, that was that happened in the Bible. So it's, it's, it's pretty cool, you know, to read those you know how it's helped people, and it's helped save souls, and it's just been a great you know, it's been a very rewarding experience. Have you Michael Hingson ** 56:09 ever taken it and divided it up and put it on the radio? Well, that's Carl Amari ** 56:12 one of the not in the radio, but we're going to do some podcast with, we're going to, we're going to be doing something really, really unique with, with one of my later ones that I did not the Word of Promise, but a different one. And, and it's going to, it's going to be really, really special. I can't wait to talk about it on your show. Looking Michael Hingson ** 56:30 forward to it, yeah, well, we have had a lot of fun doing this, and I'm going to have to sneak away. So I guess we'll have to stop, darn but we do have to continue this. And, and I'd love to find ways to work together on projects and be a part of your world and love you to be more a part of mine. I'm really glad that we finally had a chance to get together and do all this. It's been a lot of fun. Me Carl Amari ** 56:53 too, Michael, me too. It's really, I said it was an honor, and it really was an honor. And thank you so much. Well, Michael Hingson ** 56:59 for all of you listening, we hope you've enjoyed this episode of unstoppable mindset. Love to hear your thoughts. Feel free to email me at Michael H I M, I C, H, A, E, L, H i at accessibe, A, C, C, E, S, S, I B, e.com, or go to our web page where we host the where we have the podcast, w, w, w, dot Michael hingson.com/podcast, Michael hingson is m, I, C, H, A, E, L, H, I, N, G, s, O, n.com/podcast, love to get your thoughts wherever you're listening. Please give us a five star rating. We value that very highly. We really appreciate you giving u
Get your surf boards out folks cause we are Escaping L.A.!! If you have never seen the movie or the original Escape From New York, just imagine if Han Solo had to keep doing little side jobs for the emperor to get out of trouble before he met Luke. John Carpenter's Escape From L.A., 1996. Directed by John Carpenter. Written by John Carpenter, Debra Hill and Kurt Russell. Produced by Debra Hill and Kurt Russell. Starring: Kurt Russell, Stacy Keach, Steve Buscemi, Peter Fonda, Georges Corraface and Cliff Robertson.
DEATH BY DVD PRESENTS : What's The Deal With Jeremy Berkowitz? An Interview with Jeremy Berkowitz. On this fresh from the grave episode we are proud to bring filmmaker Jeremy Berkowitz to the graveyard to discuss their art! Jeremy is a tremendously talented writer, director and actor and their feature film debut SYDNEY was released early 2025 for all to see. On this episode Jeremy discusses their work, Sydney, what made them want to be an artist and more. We dive deep into into Jeremy's world of art, from his start in stand up comedy to writing directing and starring in a feature film. I am so excited for you all to hear this episode, Jeremy creates dynamic art that drowns you in pure emotion and I truly hope you enjoy this episode and explore their art further. WATCH SYDNEY FOR FREE : Tap here or copy the link belowhttps://www.sydneythefilm.com/VISIT THE OFFICIAL WEBSITE OF JEREMY BERKOWITZ: Tap here or click the link belowhttps://www.jeremyberkowitz.com/Don't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES Whoah, you're still here? Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVD ★ Support this podcast on Patreon ★
On this episode of the Forgotten Filmcast we go deep beneath the ocean for some 70's disaster film chaos. Dave Anderson from Free Kittens Movie Guide stops by to discuss the 1978 submarine film Gray Lady Down, starring Charlton Heston, David Carradine, Stacy Keach, Ned Beatty, and many more. Of course we have our movie recommendations and the new trivia segment.
A Dangerous ThursdayFirst a look at the events of the dayThen The Shadow starring Orson Welles and Agnes Moorehead, originally broadcast January 30, 1938, 87 years ago, The Poison Death. A madman threatens to poison the entire city...and signs his threat...The Shadow!Followed by Dark Fantasy, originally broadcast January 30, 1942, 83 years ago, Death Is a Savage Diety. A tale of witchcraft and black magic, based on the novel by Scott Bishop. Then This is Your FBI starring Stacy Keach, originally broadcast January 30, 1953, 72 years ago, The Red Headed Blackmailer. A blackmailer shakes down a married women again and again over old love letters. But he ends up dead. Last show of the series. Followed by Quiet Please starring Ernest Chappell, originally broadcast January 30, 1949, 76 years ago, Northern Lights. A love story about time travel and talking caterpillars.Finally, Superman, originally broadcast January 30, 1942, 83 years ago, Lita the Leopard Woman. Clark Kent and Lois Lane have a meeting with The Leopard Woman. Clark overhears her plans to a have a Nazi submarine torpedo an American tanker.Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day
On today's episode, we do the deep dive into Stacy Keach aka Warden Henry Pope. Stacy is a true legend of the stage and screen and we are so fortunate to be able to host him on the show. Stacy discusses what led him to the role of Pope, what unique elements he brought to the character, his experience of shooting Prison Break, and a little insight into his next project - a movie he just shot with George Clooney. After listening, leave us your comments, shoot us an email, or leave us a voicemail - we love hearing from all of you! For the FULL Prison Breaking With Sarah & Paul experience, join our very active Patreon community where you can watch our WATCH PARTY episodes, released a day before the podcast episode, where you can re-watch every episode of Prison Break alongside Sarah & Paul's real time commentary (kind of like the DVD director commentary tracks of yore). You also get access to all of our Fan Fiction episodes and our Discord Server where you can join our active Prison Breaking community, interact with Sarah & Paul's "Ask Me Anything" and join group WATCH PARTIES where you can experience the release of every Watch Party and along with a group chat. Join our Patreon here: https://patreon.com/user?u=116411884 If you love all the behind-the-scenes Prison Break convo that Sarah & Paul are bringing weekly, then please give us a review and a follow us on all your podcast, social media, and YouTube accounts! Follow us on Instagram - https://www.instagram.com/prisonbreakpodcast/ Follow us on TikTok - https://www.tiktok.com/@prisonbreakpodcast Merch!!! - https://pbmerch.printify.me/products Email us at prisonbreaking@caliber-studio.com And leave us a message with all your burning questions at (401) 3-PBREAK Logo design by John Nunziatto @ Little Big Brands. If you want one yourself, reach out at https://www.littlebigbrands.com/ and tell him we sent you. PRISON BREAKING WITH SARAH & PAUL is a Caliber Studio production.
A reason to mention Stacy Keach, losing things, doubling down on Double Indemnity, drunken dialogue, more Silicon Valley stupidity, stay away from hospitals, the stories behind end-of-year Spotify playlists, an unnecessary movie, a cool new noir, a great new action movie, the Church of Marc, the power of "I don't know", and a closing line from Dirty Harry. Stuff mentioned: Double Indemnity (1944), Double Indemnity (1973), Harper (1966), Marc D Top Songs 2024 (https://open.spotify.com/playlist/37i9dQZF1FoBcZwP6FCzpt?si=A3VMyH16TDK6BFzlg7K-Kw&pi=u-L4ABOI9SQVKA), Chris Cornell "Follow My Way" (1999), Jim Morrison "A Feast of Friends" (1978), Beetlejuice, Beetlejuice (2024), Lake George (2024), The Leftovers (2014-2017), Carry-On (2024), Kingsman: The Secret Service (2014), Kingsman: The Golden Circle (2017), Rocketman (2019), Die Hard (1988), and Magnum Force (1973).
Today, I'm thrilled to announce my episode with Broadway veteran Betsy Joslyn. Tune in to hear some of the stories of her legendary career, including why she crossed her eyes while singing “Green Finch and Linnet Bird” in SWEENEY TODD, preparing to go on at the last minute in THE GOODBYE GIRL, the many changes that were made to A DOLL'S LIFE, how she ended up with the final bow in INTO THE WOODS, a treasured piece of art from her time in THE FANTASTICKS, why she decided to leave the business after LES MIS, the kindness of Stacy Keach during CAMELOT, what she learned from Bernadette Peters and Angela Lansbury, playing cards during HIGH SOCIETY, her one performance in A FEW GOOD MEN, why you should never be funnier than Mel Brooks, how she convinced George Hearn to star in LA CAGE AUX FOLLES, and so much more. You won't want to miss this conversation with one of Broadway's best leading ladies.
James Wilson from Blogging by Cinema Light returns to the show to look at one of the lesser known versions of the O.K. Coral story. Stacy Keach, Faye Dunaway, and Harris Yulin star in 1971's Doc.
The old standard returns! It Happened One Year is once again looking at what aired on November 3rd in 1984, checking in over a year since exploring ABC's programming! This time, Sarah & Joe delve into the hard-boiled, sexy, action dramas that were Mickey Spillane's Mike Hammer, Airwolf, and Cover Up! Along the way, much discussion is made about Stacy Keach's mustache, how Oscar winner Ernest Borgnine found himself flying that helicopter, the tragedies and controversies of Cover Up, the poor adult audience subjected to early '80s television, and of course, the glorious return to It Happened One Year of show favorite, Bubba Smith.
It's a monster mash on this fresh from the grave episode of DEATH BY DVD all about FRANKY AND HIS PALS, directed by Gerald Cormier. What is Franky And His Pals, you ask? Well, let us copy and paste the write up from the official Severinfilms.com website where this movie is available to purchase, because we are to lazy to write something up ourselves and theirs is way better : From the deepest, darkest depths of the shot-on-video vaults… Hidden from view for 30 years… All your favorite movie monsters are back… And they're ready to party like it's 1990! Franky, Drak, Wolfy, Mummy and Humper – the horny hunchback – descend on the tiny mining town of French Gulch in search of lost gold, but it's Halloween Night, and the monsters soon find themselves caught up in the debaucherous festivities of the local townsfolk. Will Franky and His Pals find the gold? Will they learn the ways of love? Will Drak quench his thirst for human blood? Just how explosive is Franky's flatulence? What's that Mad Scientist tinkering on out in his barn? What the hell is a pee-pee? And does any of it really matter? Directed by veteran grindhouse and adult film producer Gerald Cormier (TERROR CIRCUS a.k.a. BARN OF THE NAKED DEAD, 101 ACTS OF LOVE) and seldom-seen beyond the shelves of small-town video shops, this bizarro monster-comedy is finally being resurrected on DVD and is positively exploding with spooky Special Features!And since I copy and pasted all that from Severin, the least I can do is also add the link so you can buy the movie : TAP HERE FOR THE MOVIEDive into the monster mash with your host Harry-Scott Sullivan and kick back and relax with this hoot and an additional hollar of an episode. Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
HAPPY HALLOWEEN! On this episode we reach the end of our 2024 celebration of Halloween with THE SOUNDS OF SATAN! The music of Death By DVD and music inspired by Death By DVD will haunt your ears! We discuss 15 years of the sounds of Death By DVD and play you a tremendous track that will make your ears bleed recorded special just for Death By DVD by the brutal band SATANIC HEARSE. Click play and hear it today! Thank you for choosing death, and once more, HAPPY HALLOWEEN! HEAR A SONG FROM SATANIC HEARSE TODAY. Tap here or copy and paste the link below : https://music.apple.com/us/album/satanic-hearse-is-coming/1734361543Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★ ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloween's Of The Past continues with this episode originally from 2021! This was in fact the 2021 Halloween Special! Frightful Fables To Fear At Night is a collection of thrilling short stories read by Death By DVD's very own host, Harry-Scott Sullivan. Happy Halloween! We hope you have been enjoying these blast from the past episodes highlighting the best of Death By DVD's spooky season celebrations of the past. It's almost Halloween! Be sure to stay tuned for new music from the band SATANIC HEARSE that will be played for you on October 31st here on Death By DVD! HEAR A SONG FROM SATANIC HEARSE TODAY. Tap here or copy and paste the link below : https://music.apple.com/us/album/satanic-hearse-is-coming/1734361543WHAT IS SEASONS OF THE WITCH : HALLOWEEN'S OF THE PAST??? To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! Stay tuned for the next installment of Seasons Of The Witch, coming soon! NEED MORE DEATH? Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★ ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloween's Of The Past continues with this episode originally from 2022. Filmmaker Hunter Johnson joins Death By DVD for the ultimate deep dive into their art! Learn all about the films Hunter Johnson has directed, written and acted in on this blast from the past episode celebrating Halloween 2024 with some of our greatest hits from the grave, co-hosted by Hunter Johnson themself! There may just be another special guest on this episode, too! You will just have to hit play and find out for yourself. Interested in learning MORE about Hunter? Be sure to visit their website https://lahorror.com/WHAT IS SEASONS OF THE WITCH : HALLOWEEN'S OF THE PAST??? To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! Stay tuned for the next installment of Seasons Of The Witch, coming soon! NEED MORE DEATH? Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
TVC 664.2: Actress Lindsay Bloom (Mickey Spillane's Mike Hammer, Dallas, The Dukes of Hazzard) talks to Ed and Tom Lisanti about working with Stacy Keach and Mickey Spillane on Mickey Spillane's Mike Hammer, and with Larry Hagman, Patrick Duffy, and Susan Howard on Dallas. Tom Lisanti's latest book, Dueling Harlows: The Race to Bring the Actress's Life to the Silver Screen, is available from McFarlandPub.com Learn more about your ad choices. Visit podcastchoices.com/adchoices
Seasons Of The Witch : Halloween's Of The Past continues with this episode originally from 2022. Death By DVD is joined by musician THE Linus Fitness-Centre and Justin Oberholtzer of the Watch/Skip+ podcast to discuss the ENTIRE Halloween series, 1978 - 2022, all the while ranking them as well! IT'S SO MUCH MICHAEL MYERS YOU'LL PUKE! This blast from the past is one of the longest episodes in the history of the show and chock full 'o' horror goodness. Celebrate the season of the witch with Death By DVD and hit play on this tale from the crypt today!WHAT IS SEASONS OF THE WITCH : HALLOWEEN'S OF THE PAST??? To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! Stay tuned for the next installment of Seasons Of The Witch, coming soon! Need more Death? Hear my exclusive interview with underground artist CHRISTOPHER BICKEL and learn more about their work and the film PATER NOSTER AND THE MISSION OF LIGHT today! Tap here or copy and paste the link belowhttps://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloweens Of Yesterday is the Death By DVD 2024 Halloween celebration. You may have heard recently that we will not have new episodes for a while - but somehow that has not stopped us from having new episodes! To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! This episode originally comes from 2021 and is hosted by our dearly departed former leader Hank The Worlds greatest. You can find a link to hear all about his horrible murder below! We've got BLOOD FREAK (1972) and INVADERS FROM MARS (1986) that are discussed on this tale from the crypt! We hope you enjoy this blast from the past episode featuring 3 special guests and Death By DVD's original hosts. Keep your eyes and ears peeled for the next installment of Seasons Of The Witch : Halloweens Of Yesterday, coming soon! Need more Death? Hear my exclusive interview with underground artist CHRISTOPHER BICKEL and learn more about their work and upcoming film PATER NOSTER AND THE MISSION OF LIGHT today! Tap here or copy and paste the link belowhttps://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
On the last episode of Death By DVD we had a major announcement to make. Now, on this episode, once more, we've got an announcement to make! Hear all about Death By DVD's 2024 Halloween treats on this brief commercial outlining all the horror coming to you, soon! Click play and hear the good word today! Need more Death? Hear my exclusive interview with underground artist CHRISTOPHER BICKEL and learn more about their work and upcoming film PATER NOSTER AND THE MISSION OF LIGHT today! Tap here or copy and paste the link belowhttps://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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 Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick 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, 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
Stacy_Keach_reads_Kiss_Me_Deadly_by_Mickey_Spillane
I GOT SOMETHIN' TO SAY! Well, a coupla somethin's, really. A shocking update about Death By DVD, some sick Satanic sounds AND Pater Noster & The Mission Of Light discussed on this fresh from the grave episode that you really should hear. I'm workin' on something much bigger than this program and I tell you all about (what I can tell you) it, so quit reading and hit play now! TAP HERE TO WATCH PATER NOSTER AND THE MISSION OF LIFE FOR JUST 4 BUCKS (or copy and paste the link below)https://www.indiegogo.com/projects/pater-noster-and-the-mission-of-light-horror-film#/ ★ Support this podcast on Patreon ★
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, 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
A farewell to a cool guy, sending good vibes to Stacy Keach, a deadly notebook, give 323-310-5332 a call, say it ain't so Francis Ford Coppola, recent newspapers and articles that drew my attention, some James Carville, the toxic intersection of politics and facial hair, some dispatches from the medical world, nobody knows anything, a towering achievement, more quotes and jokes, endless shrimp will destroy us all, some dude in 1881 knew his shit, more useless technology from Silicon Valley, a literary takedown of Elon Musk, animals bullshitting with each other, and some quotes on perseverance. Stuff mentioned: Days of our Lives (1965-present), Death Note (2017), Death Note (2006), Tsugami Ohba Death Note (2003-2006), The Substance (2024), Flashpoint (1984), Megalopolis (2004), Hill Street Blues (1981-1987), Dr. Butcher M.D. (1982), Zombie Holocaust (1980), George Miller Beard American Nervousness, Its Causes and Consequences: A Supplement to Nervous Exhaustion (Neurasthenia) [1881], Kate Conger and Ryan Mac Character Limit: How Elon Musk Destroyed Twitter (2024), and The Animal Kingdom (2023).
Stacy_Keach_reads_I_the_Jury_by_Mickey_Spillane
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, 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
Stacy Keach, Pam Grier, and Malcolm McDowell star in this absolutely wonderful tale of cyborg teachers, and the gangs of students they cannot wait to murder. Great movie.
I have a truly special episode for you, this time! Death By DVD proudly presents : John Valley And The Art Of Independent Cinema! Writer, director, actor (he does it all and more!) John Valley joins Death By DVD for a full episode exploring the art of John Valley, his film THE PIZZAGATE MASSACRE, the art of independent cinema, what it's like to make movies, what it's like to direct movies AND MORE! This episode believe it or not is Death By DVD's very first IN PERSON interview. This was recorded with your faithful host Harry-Scott Sullivan & John Valley while on location in Columbia, South Carolina earlier this year. I hope you take a moment or two, or three, or the entire hour and join me for this very special episode featuring an artist I sincerely believe in. TAP HERE TO WACH JOHN VALLEY'S FILM THE PIZZAGATE MASSACRE FREE ON TUBI (or copy and paste the link below)https://tubitv.com/movies/688033/the-pizzagate-massacreTAP HERE TO WATCH JOHN VALLEY'S FILM THE PIZZAGATE MASSACRE FREE ON AMAZON (or copy and paste the link below)https://www.amazon.com/Pizzagate-Massacre-Tinus-Seaux/dp/B09JLMR2G5TAP HERE FOR THE OFFICIAL WEBSITE OF THE PIZZAGATE MASSACRE (or copy and pate the link below)https://thepizzagatemassacre.com/TAP HERE TO VISIT THE OFFICIAL WEBSITE OF JOHN VALLEY (or copy and paste the link below)https://www.johnvalleyworks.com/ ★ Support this podcast on Patreon ★
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, 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
Professor Beck Strah and Producer Brit talk about Beck's various jobs, Derek Chauvin news, and then they review the first episode of Prison Break from 2005 in which they discuss prison stores, murdering the vice president's brother, conjugal visits, Stacy Keach, trash fires, gifts made with prison labor, dated effects, and Alien: Romulus (2024)
Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, 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
RMR 0281: Special Guest, Will Grouch joins your hosts Russell Guest, and Dustin Melbardis for the Retro Movie Roundtable as they revisit Batman: Mask of the Phantasm (1993) [PG] Genre: Animation, Superhero, Mystery, Crime, Action, Adventure Starring: Kevin Conroy, Dana Delany, Hart Bochner, Stacy Keach, Abe Vigoda, Dick Miller, John P. Ryan, Efrem Zimbalist Jr, Bob Hastings, Robert Costanzo, Mark Hamill Director: Eric Radomski & Bruce Timm Recorded on 2024-08-15
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, 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
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow
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Steve & Izzy continue Marky March, a month-long celebration of Mark Hamill movies this year (sorry Wahlberg), as they are joined by Izzy's Mom to discuss 1993's "Body Bags" starring Mark Hamill, Buck Flowers, Robert Carradine, Stacy Keach, Roger Corman, Tom Arnold, Tobe Hooper & more!!! Does this count as forgotten John Carpenter? Should the Cryptkeeper be trying to sue? Is Buck Flowers the center of the John Carpenter Cinematic Universe? Or just a stag film actor done good?!? Let's find out!!! So kick back, grab a few brews, put in a perfectly matched contact, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
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 #goldenageofradio 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 Tales of the Texas Rangers is a 20th century Western old-time radio and television police procedural drama which originally aired on NBC Radio from 1950 to 1952 and later on CBS Television from 1955 to 1958. Film star Joel McCrea voiced the radio version as the fictitious Texas Ranger Jace Pearson, who uses the latest scientific techniques to identify criminals. His faithful horse, Charcoal (or "Charky"), helps Pearson to track down the culprits. The radio shows, some of which are available on the Internet, are re-enactments of actual Texas Ranger cases. The television version was produced and also directed for several episodes by Stacy Keach, Sr. It was sponsored for part of its run by Wheaties cereal. Captain Manuel T. "Lone Wolf" Gonzaullas, who was said to have killed thirty-one men during his 30-year career as a Texas Ranger, was the consultant for the television series, as he had been for the earlier radio series. The television version was filmed by Screen Gems. On radio, Joel McCrea's Pearson often worked by request with a local sheriff's office or police department. But in the television version, Willard Parker assumed the role of Jace Pearson and had a regular partner, Ranger Clay Morgan, who had been an occasional character on the radio show. Morgan was portrayed in the television version by Harry Lauter. William Boyett appeared five times on the television series, including the role of Wade Crowell in the 1955 premiere episode, "Ransom Flight." During the opening and closing credits of the television series, the actors march toward the camera as an off-screen men's chorus sings the theme song, "These Are Tales of Texas Rangers", to the tune of "The Eyes of Texas Are Upon You" and "I've Been Working on the Railroad". The radio series used contemporary cases and modern detective methods to solve crimes; it was a procedural drama, in many ways Jack Webb's Dragnet with a western flavour. The television version had some episodes set in the 1950s, comparable in some ways to Rod Cameron's syndicated series, State Trooper. Other episodes were set in the 19th century in a traditional western genre. In each case, Parker and Lauter were involved with chases and shoot-outs. The weaponry varied greatly between the modern and older stories. Irving J. Moore, later with Gunsmoke, began his career as a director on two episodes of Tales of the Texas Rangers. Besides Keach and Moore, the other directors included Lew Landers, George Blair, and Earl Bellamy. Guest stars (TV series) Chris Alcaide, as Clint Hollister in "Uranium Pete", as Slade in "Hail to the Rangers" (both 1955), and as Ben Thomas in "Trail Herd" (1957) Stanley Andrews, four episodes, mainly as Marshal MacDonald Morris Ankrum, as Colonel Cole Bryson in "Trail Herd" (1957) Gregg Barton, as George Webster in "Horseman of the Sierras" (1956) and as Quiqley in "Double Reward" (1957) Ray Boyle, in "Streamlined Rustlers" (1957) Lane Bradford, as Asa Brockway in "Blazing Across the Pecos" and as Big Jack in "The Rough Tough West" (both 1955) X Brands, as Johnnie Tyce in "Whirlwind Raiders" (1957) Paul Brinegar, as the lead guest star in "The Hobo" (1956) Harry Cheshire, as Joe Chaney in "Desert Fury" (1958) Andy Clyde in "Hardrock's Dilemma" and "Double Reward" (both 1957) Michael Dante, as Alfred in "Edge of Danger" (1958) Anthony Eisley, as Jack Carr in "Kickback" (1958) Dick Elliott, as prospector Pete Cooper in "Uranium Pete" (1955) and as Sheriff Tiny Morris in "Both Barrels Blazine" (1957) Frank Ferguson, as Dembrow in "Deadfall" (1958) Leo Gordon, as Joe Brock in "Desert Fury" (1958) Ron Hagerthy, as Jim Hartley in "The Devil's Deputy" (1956) Don C. Harvey, as Milo Paxin in "Return of the Rough Riders" (1955) Harry Harvey, Jr., as Jeff Thorpe in "Traitor's Gold" (1958) Ed Hinton, as Matt Carter in "Blazing Across the Pecos" and as Walker in "The Rough, Tough West" (both 1955) I. Stanford Jolley, as Sheriff Clinton in "West of Sonora"; the sheriff fights a former outlaw for custody of a little girl. Jimmy Lydon, as Lt. Jared Evans in "Warpath" (1958) Ewing Mitchell, as Tom Weldon in "Whirlwind Raiders" (1957) Dennis Moore, as Jim Webb in "Panhandle" (1956) Burt Mustin, as Ned Watkins in "Home in San Antone" (1955) Gregg Palmer, as Pete Hackett in "Panhandle" (1956) Eddie Parker, three times and as stuntman John M. Pickard, as Frank Warren in "Ransom Flight", the series premiere Paul Picerni, as Philip Conzog in "Gypsy Boy" (1957) Denver Pyle, as Noah Reed in "Texas Flyer" (1958) Rhodes Reason, as Sheriff Tom Keever in "Uranium Pete" and as Dave in "Hail to the Rangers" (both 1955) Olan Soule, as Bill Peters in "Steel Trap" (1958) Marjorie Stapp, as Stacey Walker in "Ambush" (1958, series finale) Dub Taylor, as Jack Geyer in "The Fifth Plague" (1958) Pierre Watkin, as Ross Oliver in "Jace and Clay" (1958) Grant Withers, as Ramrod Johnson in "Cattle Drive" (1958) Radio episode log AUD Just A Number 04-13-50 :27:40 1 Just A Number 07-08-50 :29:40 2 The White Elephant 07-15-50 :29:40 3 Apache Peak 07-22-50 :29:40 4 The Trigger Man 07-29-50 :29:40 5 Quick Silver 08-05-50 :29:30 6 The Broken Spur 08-12-50 :29:10 7 Fool's Gold 08-19-50 :29:40 8 The Open Range 08-26-50 :29:40 9 Play For Keeps 09-02-50 :29:50 10 Dead Or Alive 09-09-50 :29:30 11 Candy Man 09-16-50 :29:40 12 Open And Shut 09-23-50 :29:20 This is the broadcast of 11-11-51 of the same title. 13 Clean Up 09-30-50 :29:40 14 Living Death 10-08-50 :29:40 Show moves to Sundays at this point 15 Dead Give-Away 10-15-50 :29:40 16 Title Unknown 10-22-50 :30:00 17 Soft Touch 10-29-50 :29:50 18 The White Suit 11-05-50 :30:00 19 Blood Relative 11-12-50 :30:00 20 Hanging By A Thread 11-26-50 :30:00 show of 11-19 Pre-Empted for Hedda Hopper Program 21 Room 114 12-03-50 :30:00 22 The Lucky Dollar 12-10-50 :30:00 23 The Cactus Pear 12-17-50 :30:00 24 Christmas Present 12-24-50 :30:00 Christmas Program 25 The Devil's Share 12-31-50 :30:00 26 Deadhead Freight 01-07-51 :30:00 27 Death In The Cards 01-14-51 :30:00 28 Blood Harvest 01-21-51 :30:00 29 Night Chase 01-28-51 :30:00 30 Logger's Larceny 02-04-51 :30:00 31 The Hatchet 02-11-51 :30:00 32 Sweet Revenge 02-18-51 :30:00 33 The Trap 02-25-51 :30:00 34 Blind Justice 03-11-51 :30:00 Show of 3/4 Pre-empted for "Theatre Guild's" HAMLET 35 Death By Adoption 03-18-51 :30:00 36 Breakdown 03-25-51 :30:00 37 Pressure 04-01-51 :30:00 38 Bad Blood 04-08-51 :30:00 39 Conspiracy 04-15-51 :30:00 40 Canned Death 04-22-51 :30:00 41 Title Unknown 04-29-51 :30:00 42 No Living Witnesses 05-06-51 :30:00 43 Paid In Full 05-13-51 :30:00 44 Squaredance 05-20-51 :30:00 45 Joy Ride 05-27-51 :30:00 46 Death Shaft 09-30-51 :30:00 47 The Wheelchair Killer 10-07-51 :30:00 48 Play For Keeps 10-14-51 :30:00 49 Fugitive Trail 10-21-51 :30:00 50 The White Elephant 10-28-51 :30:00 51 Helping Hand 11-04-51 :30:00 52 Open And Shut 11-11-51 :30:00 53 Wild Crop 11-18-51 :30:00 54 The Blow Off 11-25-51 :30:00 55 The Dead Give-Away 12-02-51 :30:00 56 Death Plant 12-09-51 :30:00 57 Pick-Up 12-16-51 :30:00 58 Christmas Payoff 12-23-51 :30:00 Christmas Program 59 Killer's Crop 12-30-51 :30:00 60 Birds Of A Feather 01-06-52 :30:00 61 Clip Job 01-13-52 :30:00 62 Blood Trail 01-20-52 :30:00 63 Night Chase 01-27-52 :30:00 64 The Rub Out 02-03-52 :30:00 65 Hitchhiker 02-10-52 :30:00 66 Cold Blood 02-17-52 :27:20 67 Bright Boy 02-24-52 :30:00 68 The Ice Man 03-02-52 :30:00 69 Dream Farm 03-09-52 :30:00 70 Prelude To Felony 03-16-52 :30:00 71 Nighthawk 03-30-52 :30:00 Program of 3-23 Preempted 72 Troop Train 04-06-52 :30:00 73 Uncertain Death 04-13-52 :30:00 74 Illusion 04-20-52 :30:00 75 Address Unknown 04-27-52 :30:00 76 Little Sister 05-04-52 :30:00 77 Unleashed Fury 05-11-52 :30:00 78 Smart Kill 05-18-52 :30:00 79 Jailbird 05-25-52 :30:00 80 Sell-Out 06-01-52 :30:00 81 Illegal Entry 06-08-52 :30:00 82 Travesty 06-15-52 :30:00 83 Knockout 06-22-52 :30:00 84 Ex-Con 06-29-52 :30:00 85 The Boomerang 07-06-52 :30:00 86 Finger Man 07-13-52 :30:00 87 Round Trip 07-20-52 :30:00 88 Stick-Up 07-27-52 :30:00 89 Double Edge 08-03-52 :30:00 90 Last Stop 08-10-52 :30:00 91 Cover-Up 08-17-52 :30:00 92 Three Victims 08-24-52 :30:00 93 Misplaced Person 08-31-52 :30:00 94 Alibi 09-07-52 :30:00 95 Drive-In 09-14-52 :30:00 Comic book adaptations The series was adapted into a comic book distributed by Dell Comics and drawn by Dan Spiegle.[3] It also inspired Willy Vandersteen's Suske en Wiske album De Texasrakkers. 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, 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
Tom and Jenny discuss the 1981 thriller Roadgames (aka Road Games), an Australian suspense film in which a trucker (Stacy Keach) and a hitchhiker (Jamie Lee Curtis) attempt to track down a serial killer on the isolated highways. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us … Continue reading Movie Time: Road Games (1981)
Harvey Brownstone conducts an in-depth Interview with Stacy Keach, Legendary Actor About Harvey's guest: Today's special guest, Stacy Keach, is a legendary actor who's given us dozens of unforgettable performances in a career that spans over 6 decades. He's widely considered to be America's finest classical actor, having tackled the most challenging Shakespearean roles including Hamlet, Richard the 3rd, MacBeth, King Lear and Henry the 4th. He has starred in many other highly acclaimed theatrical productions including “Incident at Vichy”, “The Country Wife”, “MacBird”, “Indians”, “Long Day's Journey Into Night”, “Deathtrap”, “The Kentucky Cycle”, “Other Desert Cities”, “Death of a Salesman”, “Art” and “Love Letters”. On the big screen, he's appeared in dozens of great movies including “The Heart is a Lonely Hunter”, “Doc”, “Fat City”, “The Life and Times of Judge Roy Bean”, “The New Centurions”, “Up in Smoke” and the sequel, “Nice Dreams”, “That Championship Season”, “Escape from L.A.”, “American History X”, “W”, “The Bourne Legacy”, “Nebraska”, “Gold”, and many more. And on television, aside from his groundbreaking role as everybody's favourite private detective, “Mike Hammer”, we also remember him in “Die Gang”, “Titus”, “Prison Break”, “Lights Out”, “Crowded”, “Man with a Plan”, and “Blue Bloods”. He's also starred in many renowned miniseries including “Jesus of Nazareth”, “The Blue and the Gray”, “Princess Daisy”, “Mistral's Daughter”, “Hemingway”, “Blackbeard”, “Meteor”, and “Tokyo Trial”. And who can forget his wonderful audio podcast series, “The Twilight Zone Radio Dramas”. In 2013 he wrote a highly compelling, fascinating and insightful memoir entitled, “All in All: An Actor's Life On and Off the Stage”. The list of awards and accolades this man has received is jaw-dropping. He's won 4 Drama Desk Awards, 3 Vernon Rice Awards, 2 Helen Hayes Awards, a Hollywood Film Award, a Kansas City Film Critics Circle Award, a Mary Pickford Award, the German Independence Honorary Award and a Star of Excellence at the Oldenburg Film Festival. He has received Lifetime Achievement Awards from the San Diego Film Festival and the St. Lewis International Film Festival. In the year 2000, he received the prestigious Millennium Recognition Award from Shakespeare Theatre Company for his outstanding contribution to classical theatre. In 2012 he became George Mason University's first Heritage Professor of Stage and Screen. In 2015, our guest was inducted into the American Theatre Hall of Fame. And in 2019, he received a star on the Hollywood Walk of Fame. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To learn more about Stacy Keach, go to:http://www.gostacykeach.com/ https://www.facebook.com/stacy.keach.9/ https://www.instagram.com/stacykeach/https://twitter.com/stacykeach1https://www.youtube.com/channel/UCaPJQh5a5MoyqaERgkmXt3A/featured #StacyKeach #harveybrownstoneinterviews
If you're like me, you love a good road trip. The open road, listening to your favorite music, chasing suspected serial killers, picking up sinister hitchhikers, making sadistic enemies on your CB radio, taking the backroads to hell. Good times!Stacy Keach and Jamie Lee Curtis are the token Americans, obsessed with the pursuit of a driver in a green van, who they suspect may be a homicidal maniac, in the Australian trucker suspense classic Road Games (1981). C. Thomas Howell makes the terrible mistake of picking up kill-crazy hitchhiker, Rutger Hauer, and then becomes the prime suspect for his crimes in The Hitcher (1986). A young couple eloping to Las Vegas, leave the interstate, only to end up in a struggle to escape the underworld on the Highway to Hell (1991). And then from there, a CB radio prank becomes a nightmare for two brothers, who are targeted by a psychotic trucker out for revenge in Joy Ride (2001).
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases.The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases.The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases.The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases.The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Try the new "Tales of Escape & Suspense"- links below! ANDROID USERS- 1001 Tales of Escape & Suspense at Spotify - https://open.spotify.com/show/2HQYk53AJHTOgBTLBzyP3w 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify- https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 Ghost Stories & Tales of the Macabre on Spotify: https://open.spotify.com/show/5P4hV28LgpG89dRNMfSDKJ 1001 Stories for the Road on Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories on Spotify https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001 History's Best Storytellers: (INTERVIEWS) on Spotify https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr APPLE USERS New! 1001 Tales of Escape and Suspense at Apple Podcasts https://podcasts.apple.com/us/podcast/1001-tales-of-escape-and-suspense/id1689248043 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 NEW Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 NEW 1001 Ghost Stories & Tales of the Macabre is now playing at Apple Podcasts! https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 NEW Enjoy 1001 History's Best Storytellers (Interviews) on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 NEW Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases. The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. ANDROID USERS- 1001 True Stories with Brian Tremblay https://open.spotify.com/episode/1EOZTL42pg0szYdYV7mwMC?si=SCPAOiSgQiyo0ZSO_OFDyw&nd=1&dlsi=012b3f28347743d5 1001 Greatest Love Stories with Erica Tippett https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify-(Sun & Wed) https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001 Radio Days (Now all Variety, Sun & Wed) at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 History's Best Storytellers (Now Playing Archives Only: https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr 1001 Ghost Stories & Tales of the Macabre on Spotify https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 APPLE USERS New! 1001 True Stories with Brian Tremblay https://podcasts.apple.com/us/podcast/1001-true-stories-with-brian-tremblay/id1726451725 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes, Legends, Histories & Mysteries on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 1001 History's Best Storytellers at Apple Podcast (Now Playing Archives Only: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 1001 Ghost Stories & Tales of the Macabre at Apple Podcast (Playing Archives Only) https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 8043 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases. The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. ANDROID USERS- 1001 True Stories with Brian Tremblay https://open.spotify.com/episode/1EOZTL42pg0szYdYV7mwMC?si=SCPAOiSgQiyo0ZSO_OFDyw&nd=1&dlsi=012b3f28347743d5 1001 Greatest Love Stories with Erica Tippett https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify-(Sun & Wed) https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001 Radio Days (Now all Variety, Sun & Wed) at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 History's Best Storytellers (Now Playing Archives Only: https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr 1001 Ghost Stories & Tales of the Macabre on Spotify https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 APPLE USERS New! 1001 True Stories with Brian Tremblay https://podcasts.apple.com/us/podcast/1001-true-stories-with-brian-tremblay/id1726451725 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes, Legends, Histories & Mysteries on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 1001 History's Best Storytellers at Apple Podcast (Now Playing Archives Only: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 1001 Ghost Stories & Tales of the Macabre at Apple Podcast (Playing Archives Only) https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 8043 Get all of our shows at one website: https://.1001storiespodcast.com My email works as well for comments: 1001storiespodcast@gmail.com SUPPORT OUR SHOW BY BECOMING A PATRON! https://.patreon.com/1001storiesnetwork. Its time I started asking for support! Thank you. Its a few dollars a month OR a one time. (Any amount is appreciated). YOUR REVIEWS ARE NEEDED AND APPRECIATED! Learn more about your ad choices. Visit podcastchoices.com/adchoices
Sarah & Paul talk about how the PRISON BREAK's breakneck speed plotting was ahead of its time (as indicated by this episode), working with the great Stacy Keach, and how Sarah studied jewelry-making at Dartmouth. Subscribe to the "Watch Party" on Patreon and re-watch every episode of Prison Break with Sarah & Paul's unfiltered commentary - https://patreon.com/user?u=116411884 Follow us on Instagram - https://www.instagram.com/prisonbreakpodcast/ Email us at prisonbreaking@caliber-studio.com And leave us a message with all your burning questions at (401) 3-PBREAK Logo design by John Nunziatto @ Little Big Brands. If you want one yourself, reach out at https://www.littlebigbrands.com/ and tell him we sent you. PRISON BREAKING WITH SARAH & PAUL is a Caliber Studio production.
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases. The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Heads Up! An Agatha Christie Poirot mystery begins today at 1001 Stories For The Road! To follow find the link below... ANDROID USERS- 1001 Stories For The Road at Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories & NEW True Love & Life Stories w Erica Tippett https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify-(Sun & Wed) https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001 Radio Days at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 True Stories with Brian Tremblay...(COMING SOON) 1001 History's Best Storytellers (Now Playing Archives Only: https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr 1001 Ghost Stories & Tales of the Macabre on Spotify https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 APPLE USERS Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes, Legends, Histories & Mysteries on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 NEW Enjoy 1001 Greatest Love & Life Stories (& Erica Tippett Interviews) here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 1001 True Stories...with Brian Tremblay (COMING SOON) 1001 History's Best Storytellers at Apple Podcast (Now Playing Archives Only: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 1001 Ghost Stories & Tales of the Macabre at Apple Podcast (Playing Archives Only) https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases. The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Heads Up! An Agatha Christie Poirot mystery begins today at 1001 Stories For The Road! To follow find the link below... ANDROID USERS- 1001 Stories For The Road at Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories & NEW True Love & Life Stories w Erica Tippett (COMING SOON) https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify-(Sun & Wed) https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001 Radio Days (Now all Variety, Sun & Wed) at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 True Stories with Brian Tremblay...(COMING SOON) 1001 History's Best Storytellers (Now Playing Archives Only: https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr 1001 Ghost Stories & Tales of the Macabre on Spotify https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 APPLE USERS Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes, Legends, Histories & Mysteries on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 NEW Enjoy 1001 Greatest Love & Life Stories (& Erica Tippett Interviews) here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 1001 True Stories...with Brian Tremblay (COMING SOON) 1001 History's Best Storytellers at Apple Podcast (Now Playing Archives Only: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 1001 Ghost Stories & Tales of the Macabre at Apple Podcast (Playing Archives Only) https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 Learn more about your ad choices. Visit podcastchoices.com/adchoices
Tales of the Texas Rangers, a western adventure old-time radio drama, premiered on July 8, 1950, on the US NBC radio network and remained on the air through September 14, 1952. Movie star Joel McCrea starred as Texas Ranger Jayce Pearson, who used the latest scientific techniques to identify the criminals and his faithful horse, Charcoal, to track them down. The shows were reenactments of actual Texas Ranger cases. The series was produced and directed by Stacy Keach, Sr., and was sponsored for part of its run by Wheaties. Heads Up! An Agatha Christie Poirot mystery begins today at 1001 Stories For The Road! To follow find the link below... ANDROID USERS- 1001 Stories For The Road at Spotify https://open.spotify.com/show/6FhlsxYFTGNPiSMYxM9O9K 1001 Greatest Love Stories & NEW True Love & Life Stories w Erica Tippett (COMING SOON) https://open.spotify.com/show/5sUUFDVTatnGt7FiNQvSHe 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify-(Sun & Wed) https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001 Radio Days (Now all Variety, Sun & Wed) at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 True Stories with Brian Tremblay...(COMING SOON) 1001 History's Best Storytellers (Now Playing Archives Only: https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr 1001 Ghost Stories & Tales of the Macabre on Spotify https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 APPLE USERS Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes, Legends, Histories & Mysteries on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 NEW Enjoy 1001 Greatest Love & Life Stories (& Erica Tippett Interviews) here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 1001 True Stories...with Brian Tremblay (COMING SOON) 1001 History's Best Storytellers at Apple Podcast (Now Playing Archives Only: https://podcasts.apple.com/us/podcast/1001-historys-best-storytellers/id1483649026 1001 Ghost Stories & Tales of the Macabre at Apple Podcast (Playing Archives Only) https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 Learn more about your ad choices. Visit podcastchoices.com/adchoices