Podcasts about starlit

Starlit: https://www.youtube.com/@SimonStarlit/videosSamy MTV unplugged: https://www.youtube.com/watch?v=x5iat6UmYmc&t=6s➖➖➖➖➖➖➖➖➖➖➖➖➖10% FERDI10 ☕️LIATA cacao: http://instagram.com/liata.family/ YouTube English: https://www.youtube.com/Vegains YouTube DE: https://www.youtube.com/VegainsDE German Rap: https://www.youtube.com/@VegainsrapInstagram: https://www.instagram.com/vegainstrength Instagram DE: https://www.instagram.com/vegains/My DE Amazon: https://amazon.de/shop/vegainsde Listen to my podcast: https://anchor.fm/ferdibeckGerman podcast: https://anchor.fm/ferdibeckdeWebsite: https://www.vegansavage.com

Join Inver, Josh, and special guest Gareth of Starlit Games to discuss Gareth's d10 simultaneous-action game system: Pythòs! Check out Starlit at https://www.starlitgames.com/ And Don't Forget! We produce a ton of Patreon-exclusive bonus episodes! Check us out on Patreon (http://www.patreon.com/goblinsgrowlers) for bonus Deep Dive videos along with early access to the video and audio of the podcast.  Telephone, Telegraph, Tell a Friend about the Goblins and Growlers Podcast. → Bonus episodes and early access on Patreon (http://patreon.com/goblinsgrowlers) → Subscribe to our monthly gaming newsletter (https://goblinsandgrowlers.beehiiv.com/subscribe) → Join the Goblins and Growlers Discord (http://bit.ly/goblindiscord) LISTEN, RATE, AND SUBSCRIBE! If you like the show, please tell a friend about it. And if you want to tell more people, then please leave us a review on Apple Podcasts and/or your podcatcher of choice. You can find and/or support us at all the places below: https://patreon.com/goblinsgrowlers https://facebook.com/GoblinsAndGrowlers https://goblinsandgrowlers.podbean.com (and basically any other podcatcher) https://quidproroll.podbean.com (our sister podcast, the best narrative play)

Fluent Fiction - Japanese: Starlit Friendships: A Weekend Escape in Nikko Forest Find the full episode transcript, vocabulary words, and more:fluentfiction.com/ja/episode/2025-09-21-22-34-02-ja Story Transcript:Ja: 秋の空気が肌に心地よく触れ、日光の森に囲まれた小さなキャビンが友達を待っていた。En: The autumn air touched the skin pleasantly, and a small cabin surrounded by the Nikko forest awaited friends.Ja: このキャビンは、赤や黄の葉に囲まれて、まるで自然が織り成すタペストリーのようだ。En: This cabin, surrounded by red and yellow leaves, looked like a tapestry woven by nature itself.Ja: キャビンのそばには小さな川が流れ、そのせせらぎが心を癒してくれる。En: Nearby, a small river flowed, and its gentle babble soothed the soul.Ja: ハルトは、久しぶりに再会する友達のために、心を落ち着けた。En: Haruto calmed himself for the friends he would reunite with after a long time.Ja: 彼は働き過ぎで疲れていたが、この週末は大切な時間を過ごす決意をしていた。En: He was exhausted from overworking, but he was determined to spend this weekend as cherished time.Ja: この週末は秋分の日、仲間たちと過ごす最高の瞬間だ。En: This weekend was the autumn equinox, a perfect moment to spend with friends.Ja: ハルトの目の前に、ユイとレンが笑顔で現れた。En: Before Haruto's eyes appeared Yui and Ren, smiling.Ja: ユイはカラフルなスカーフを風になびかせ、レンはいつものようにカメラを首にかけていた。En: Yui let a colorful scarf flutter in the wind, and Ren, as usual, had a camera hanging around his neck.Ja: 「久しぶり！」と互いに声をかけ、三人はキャビンに入った。En: "It's been a while!" they greeted each other, and the three entered the cabin.Ja: ユイは「この場所、すごくいいね。インスピレーションが湧く場所だよ」と笑った。彼女は新しい作品のアイデアを求めていた。En: Yui laughed, "This place is really nice. It's so inspiring." She was seeking ideas for a new project.Ja: レンは「ここに来る途中、すごく面白い滝を見たよ。あとで行ってみない？」と言った。En: Ren said, "On the way here, I saw a really interesting waterfall. Shall we go see it later?"Ja: しかし、ハルトはこの時間をリラックスして過ごしたかった。En: However, Haruto wanted to spend this time relaxing.Ja: 「今回はプランを立てずに行こう」と彼は提案した。En: "Let's not make any plans this time," he suggested.Ja: 「自然に任せて、気のままに過ごすのもいいよね。」En: "Sometimes it's nice to just let nature take its course and spend time freely."Ja: 夜が訪れると、冷たい空気の中で焚火が暖かく輝いた。En: As night fell, a campfire glowed warmly in the cold air.Ja: そして、レンの提案で急な夜のハイキングが始まった。En: Then, at Ren's suggestion, an impromptu night hike began.Ja: 三人は真夜中の森をゆっくりと散策し、どんどん山を登っていった。En: The three leisurely strolled through the midnight forest, gradually ascending the mountain.Ja: 頂上にたどり着くと、満天の星が空に広がっていた。En: When they reached the summit, the sky spread out with countless stars.Ja: 光の海に包まれ、無言で立ち尽くす三人。En: Wrapped in a sea of light, the three stood in silence.Ja: 久しぶりに見る星空が、彼らの心をゆっくりと解放した。En: The starry sky, seen for the first time in ages, slowly liberated their hearts.Ja: ハルトはその美しさに心を打たれながら、「この瞬間、大切にしたいね」とつぶやいた。En: Moved by its beauty, Haruto murmured, "I want to cherish this moment."Ja: キャビンに戻ると、三人は静かに話し始めた。En: Back at the cabin, the three began to talk quietly.Ja: 「仕事があるけど、こういう時間も必要だね」とハルトは言った。En: "Shigoto|Work is demanding, but having time like this is necessary," Haruto said.Ja: ユイはうなずいて、「そう、友達と過ごす時間は本当に特別だよ」と続けた。En: Yui nodded and added, "Yes, spending time with friends is truly special."Ja: レンは旅の話をはじめ、皆で笑顔になった。En: Ren started sharing stories of their travels, bringing smiles all around.Ja: 週末が終わる頃、ハルトは深く深呼吸した。En: As the weekend drew to a close, Haruto took a deep breath.Ja: 「ありがとう。これからはもっと大切な時間を作ろう」と心に決めた。En: "Thank you. I'll make more time for what's important from now on," he resolved.Ja: 彼はリラックスし、心が満たされた。そして彼は、再び都会の忙しさに戻っても、この友情を忘れないだろうと思った。En: He felt relaxed, his heart fulfilled, and thought that even upon returning to the bustle of city life, he would not forget this friendship.Ja: この週末は友情の大切さを教えてくれた。En: This weekend taught him the importance of friendship.Ja: ハルトは、新たな気持ちで再び日常へと向かった。En: Haruto set off for everyday life once more, with a refreshed mindset. Vocabulary Words:autumn: 秋equino: 秋分の日tapestry: タペストリーsoothed: 癒してくれるcherished: 大切flutter: なびかせinspiring: インスピレーションimprovised: 急なascend: 登ってsummit: 頂上liberated: 解放したbustle: 忙しさfulfilled: 満たされたgently: 心地よくreunite: 再会するexhausted: 疲れてscarf: スカーフglowed: 輝いたproposal: 提案enlightening: 心を打たれるcabin: キャビンbabble: せせらぎhike: ハイキングtruly: 本当にrefreshed: 新たなlaughter: 笑顔project: 作品determined: 決意starry: 星空ascension: どんどん

Tonight, you're invited on a peaceful stroll through moonlit meadows and quiet forest paths in The Starlit Forest Journey — a gentle, dreamlike sleep story designed to lull your body and mind into deep rest. In this calming tale, you'll wander beneath starlit skies, listen to the hush of a summer breeze through the trees, follow a winding stream, and settle beneath the branches of an ancient oak — all narrated in a soft, soothing voice that encourages your thoughts to slow and your body to relax. There's no plot to follow and no urgency — just the quiet rhythm of a tranquil evening walk where nothing stressful happens at all. You'll be guided with gentle imagery, relaxing nature sounds, and sensory details that help your mind settle into stillness. By the time you return home in the story, your body may already be drifting off. So curl up, press play, and let the night carry you. This is your time to rest. — To access more sleep stories, meditations, and bonus episodes, subscribe to Letting It Settle+ through Apple Podcasts or Supercast. Sweet dreams. Follow Michael Galyon on Instagram: @michael.galyon AND @lettingitsettle Tik Tok: @coachmichael1 Visit his website at https://www.michaelgalyon.com/ Email the show at lettingitsettle@michaelgalyon.com  Subscribe to Letting It Settle Proudly produced and managed by Good Mess Media Sponsorship and brands, please contact Tracey Thomas at hello@goodmessmedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Hii leo jaridani tunaangazia hatua za kukabiliana na mabadiliko ya tabianchi nchini Tanzania, na biashara ndogondogo kwa wananchi wa Rwanda. Makala tunakupeleka nchini Kenya ma Mashinani tunakwenda Geneva Uswisi, kulikoni?Tanzania, kwa kushirikiana na Shirika la Umoja wa Mataifa la Afya Duniani (WHO), iko mbioni kuzindua mpango wa “Beat the Heat” yaani “Lishinde Joto”, mpango wenye lengo la kukabiliana na joto kali na hatari za kimazingira katika sehemu za kazi na kwenye matukio makubwa ya kijamii. Anold Kayanda anafafanua zaidi taarifa iliyochapishwa leo na WHO jijini Dar es Salaam, Tanzania.Katika kijiji kimoja nchini Rwanda, ndoto ya muda mrefu ya Chantal Uwizeyimana imegeuka kuwa njia ya kujikwamua kiuchumi. Kupitia mradi wa STARLIT unaotekelezwa na Mfuko wa Umoja wa Mataifa wa Maendeleo ya Kilimo – IFAD, wakulima wadogo kama Chantal wamepata mafunzo, pembejeo na maarifa ya kubadili kilimo kuwa chanzo cha mapato ya uhakika. Sasa si tu kwamba mavuno yameongezeka, bali pia maisha yamebadilika kwa namna isiyotarajiwa. Makala inakupeleka Kenya kwake Kevin Keitany wa Radio washirika Radio Domus akimulika siku ya kimataifa ya urafiki inayoadhimishwa leo Julai 30, ikimulika urafiki katika ngazi ya mtu mmoja mmoja, baina ya watu zaidi ya mmoja, jamii, tamaduni na hata mataifa na mchango wake katika amani na utulivu duniani. Kelvin anamulika urafiki kati ya watu wawili.Na katika mashinani tuelekee jijini Geneva, Uswisi ambako unafanyika Mkutano wa Sita wa Spika wa Mabunge Duniani kumsikia Rais wa Umoja wa Mabunge Duniani akitoa wito kwa viongozi wenzake kuutetea Umoja wa Mataifa.Mwenyeji wako ni Assumpta Massoi, karibu!

Katika kijiji kimoja nchini Rwanda, ndoto ya muda mrefu ya Chantal Uwizeyimana imegeuka kuwa njia ya kujikwamua kiuchumi. Kupitia mradi wa STARLIT unaotekelezwa na Mfuko wa Umoja wa Mataifa wa Maendeleo ya Kilimo – IFAD, wakulima wadogo kama Chantal wamepata mafunzo, pembejeo na maarifa ya kubadili kilimo kuwa chanzo cha mapato ya uhakika. Sasa si tu kwamba mavuno yameongezeka, bali pia maisha yamebadilika kwa namna isiyotarajiwa. Sharon Jebichii na  taarifa zaidi.

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Send us a textA sunburned arm, forgotten Mother's Day acknowledgments, and debates about paper straws might seem like small things, but they're the threads weaving together this wonderfully authentic glimpse into Mac and Kelli's mom-son relationship. Their candid conversation reveals both the friction and fondness that define parent-teen dynamics.After catching up on recent activities—Kelli's completed patio project and Nurses Week celebrations—the pair drift through topics with the comfortable familiarity that regular listeners have come to love. When Kelli gently confronts Mac about not properly acknowledging Mother's Day, we witness Mac's hilariously reluctant attempt to list what he appreciates about his mom: "You're nice... you're funny..." with Kelli prompting, "Keep going, what's great about me?" It's a moment every parent of a teenager will recognize with a knowing smile.The episode takes entertaining turns through their respective entertainment choices (Kelli's book recommendations versus Mac's fascination with "The Walking Dead"), before launching into rapid-fire "hot takes" on everything from the superiority of staying up late to the inferiority of paper straws. Their perspectives sometimes align perfectly and other times reveal generational divides—particularly when discussing whether college is necessary for everyone or if astrology holds any truth.Throughout the conversation, Mac's periodic verbal tic of saying "coping mechanism" adds a layer of endearing quirkiness, while sponsored content about Magic Mind performance shots is woven naturally into their dialogue. The episode concludes with trivia, riddles, and a surprisingly dark "would you rather" scenario that showcases their comfort with hypothetical moral dilemmas.Ready for a refreshingly real podcast that captures the beautiful complexity of family relationships? Listen now, and don't forget to follow us on Facebook, Instagram (@onour_bestbehavior), and TikTok to see all of Kelli's chickens and bunnies!Use Code BESTMAY for 20% off your Magic Mind Purchase or up to 48% off a subscription.Support the showhttps://linktr.ee/onourbestbehavior

Send us a textA sunburned arm, forgotten Mother's Day acknowledgments, and debates about paper straws might seem like small things, but they're the threads weaving together this wonderfully authentic glimpse into Mac and Kelli's mom-son relationship. Their candid conversation reveals both the friction and fondness that define parent-teen dynamics.After catching up on recent activities—Kelli's completed patio project and Nurses Week celebrations—the pair drift through topics with the comfortable familiarity that regular listeners have come to love. When Kelli gently confronts Mac about not properly acknowledging Mother's Day, we witness Mac's hilariously reluctant attempt to list what he appreciates about his mom: "You're nice... you're funny..." with Kelli prompting, "Keep going, what's great about me?" It's a moment every parent of a teenager will recognize with a knowing smile.The episode takes entertaining turns through their respective entertainment choices (Kelli's book recommendations versus Mac's fascination with "The Walking Dead"), before launching into rapid-fire "hot takes" on everything from the superiority of staying up late to the inferiority of paper straws. Their perspectives sometimes align perfectly and other times reveal generational divides—particularly when discussing whether college is necessary for everyone or if astrology holds any truth.Throughout the conversation, Mac's periodic verbal tic of saying "coping mechanism" adds a layer of endearing quirkiness, while sponsored content about Magic Mind performance shots is woven naturally into their dialogue. The episode concludes with trivia, riddles, and a surprisingly dark "would you rather" scenario that showcases their comfort with hypothetical moral dilemmas.Ready for a refreshingly real podcast that captures the beautiful complexity of family relationships? Listen now, and don't forget to follow us on Facebook, Instagram (@onour_bestbehavior), and TikTok to see all of Kelli's chickens and bunnies!Use Code BESTMAY for 20% off your Magic Mind Purchase or up to 48% off a subscription.Support the showhttps://linktr.ee/onourbestbehavior

Ever wondered what an 18th century mashup of two fairytales would look like? AWC alumna and fantasy author Kell Woods did – and the result is her latest adult fantasy novel, Upon a Starlit Tide. Kell discusses her experience writing the book, online tools, research trips and more! 00:00 Welcome04:27 Writing tip: Don’t aim for perfection05:58 WIN!: Julie Chan is Dead by Liann Zhang07:21 Word of the week: ‘Geologise’09:10 Writer in residence: Kell Woods10:15 Describing her latest book, Upon a Starlit Tide12:45 Mixing the ‘Cinderella’ and ‘The Little Mermaid’16:20 A very busy year – book one to book two19:00 Overcoming impostor syndrome20:45 The publishing experience24:22 Balancing writing and promoting25:40 Writing to deadlines28:30 Kell’s research and writing tools 30:44 Becoming a ‘bestselling author’32:31 The impact of book subscription services35:12 Research and using libraries38:54 International research trips and using video43:14 Balancing writing and marketing44:11 Future projects and writing timelines51:08 Advice for aspiring writers53:47 Final thoughts Read the show notes Connect with Valerie and listeners in the podcast community on Facebook Visit WritersCentre.com.au | ValerieKhoo.comSee omnystudio.com/listener for privacy information.

Fluent Fiction - Serbian: Beneath Beograd's Starlit Melodies: A Tale of Unspoken Affections Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sr/episode/2025-05-11-22-34-02-sr Story Transcript:Sr: Било је то време када је сунце тек почело да греје јаче, а пролеће је у Белграду довољно топло да људи пожуре на Аду Циганлију.En: It was a time when the sun had just begun to shine more intensely, and spring in Beograd was warm enough for people to rush to Ada Ciganlija.Sr: Тамо, уз обалу реке, одржавао се музички фестивал.En: There, by the riverbank, a music festival was taking place.Sr: Звук књивења гитара и бубњева испунио је ваздух док се мирис роштиља ширио кроз јаву.En: The sound of strumming guitars and drums filled the air while the aroma of barbecue spread through the crowd.Sr: Неманја је ходао полако, гледајући како се људи смеју и плешу.En: Nemanja walked slowly, watching people laugh and dance.Sr: У њему се мешали осећања сете и неизговорених речи.En: Inside him, there was a mix of nostalgia and unspoken words.Sr: Организован, али резервисан младић, Неманја је дубоко унутра носио осећања која никада није признао Јовани.En: An organized but reserved young man, Nemanja carried feelings deep down that he had never admitted to Jovana.Sr: Била му је пријатељица дуго, али је сада све другачије.En: She had been his friend for a long time, but now everything was different.Sr: Видети коју је удаљило њихове путеве, али те старе симпатије никада нису исчезле.En: Seeing her had drifted their paths apart, but those old affections never faded.Sr: Јована је, док је њено срце бијоло у ритму музике, плесала са својом обичношћу и шармом.En: Jovana, while her heart beat in the rhythm of the music, danced with her usual grace and charm.Sr: Баш као што је волела да ради, скривала је своје несигурности око будућности иза осмеха и узбуђења.En: Just as she loved to, she hid her insecurities about the future behind smiles and excitement.Sr: Њено лице било је светло под светлом пројектора и пружало топлину свуда око себе.En: Her face was bright under the spotlight, spreading warmth all around her.Sr: Милица је, пак, у својој мирној улози, посматрала Њих двоје.En: Milica, in her calm role, observed the two of them.Sr: Била је другарица која је увек знала као смирити и помирити.En: She was the friend who always knew how to calm and reconcile.Sr: Све је уочавала; танке нити које су повезивале Неманју и Јовану нису јој промакле.En: She noticed everything; the thin threads connecting Nemanja and Jovana did not escape her.Sr: "Време је," рекла је Неманји тихо док су узвишени звуци клабинг музике полако уступали место нешто споријем тону.En: "It's time," she said softly to Nemanja, as the heightened sounds of club music gradually gave way to a slower tune.Sr: Док је заједно са њима кренула звезда, Неманја је спорије довео до места где су били сами усред гужве.En: As he walked with them under the starlit sky, Nemanja slowly led them to a place where they were alone amidst the crowd.Sr: Песма је почела лагано, ритам је био меланхоличан.En: The song began slowly, the rhythm was melancholic.Sr: Сада, када је откуцај срца био једини звук који је чуо, Неманја се окренуо Јовани.En: Now, when the heartbeat was the only sound he heard, Nemanja turned to Jovana.Sr: "Морам нешто да ти кажем," рекао је полако, глас му је дрхтао.En: "I have something to tell you," he said slowly, his voice trembling.Sr: Јована је застала, у макар једној секунди, укипљена.En: Jovana paused, in just one second, frozen.Sr: Очарала је одједном његову рањивост.En: She was suddenly captivated by his vulnerability.Sr: "Шта је то, Неманја?" упитала је, њихове очи спојене, а свет око њих није више био битан.En: "What is it, Nemanja?" she asked, their eyes connected, and the world around them no longer mattered.Sr: "Извините на тишини. Али знај да те нисам никад заборавио, ни овде, ни сада."En: "Excuse the silence. But know that I've never forgotten you, neither here nor now."Sr: Султан топлине раширило се на њено лице, док је недоумица погодила њено срце.En: A surge of warmth spread across her face, while uncertainty struck her heart.Sr: "Неманја," одговорила је тихо, "и ја осећам то, али не знам шта значи за нас. Мој живот је компликован сада."En: "Nemanja," she replied softly, "I feel it too, but I don't know what it means for us. My life is complicated right now."Sr: Спустя минуту, држала га је за руку и рекла: "Можемо остати пријатељи, али... оставимо све могућности отворене."En: After a moment, she held his hand and said, "We can remain friends, but... let's leave all possibilities open."Sr: Уз осмех који је садржао нову наду, Неманја је схватио важност изражавања осећања.En: With a smile that held new hope, Nemanja realized the importance of expressing feelings.Sr: Научио је снагу рањивости и оставио је место за нове могућности.En: He learned the strength of vulnerability and left room for new possibilities.Sr: Док су последњи акорди одјекивали изнад светлуцајућег језера, Неманја и Јована остали су уз завет пријатељства, спремни да истраже будућност и све оно што она може донети.En: As the last chords echoed over the shimmering lake, Nemanja and Jovana were left with a vow of friendship, ready to explore the future and all it might bring.Sr: У тајном простору међу њима, било је наде.En: In the secret space between them, there was hope. Vocabulary Words:intensely: јачеriverbank: обала рекеstrumming: књивењеaroma: мирисnostalgia: сетаunspoken: неизговоренихreserved: резервисанaffections: симпатијеoath: заветcaptivated: очаранаvulnerability: рањивостmelancholic: меланхоличанvow: заветshimmering: светлуцајућегreconcile: помиритиspotlight: светло пројектораtrembling: дрхтаоinsecurities: несигурностиcharisma: шармamidst: усредsurge: султанuncertainty: недоумицаheartbeat: откуцај срцаpossibilities: могућностиcomplicated: компликованobserve: посматратиcognizant: уочавалаthread: нитиvulnerability: рањивостconvey: изразити

Narrator: Jessika Downes-Gössl

Fluent Fiction - Norwegian: Starlit Conversations: Love in the Heart of the Solar System Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2025-03-16-22-34-02-no Story Transcript:No: Erik glippet med øynene mens han gikk inn i det travle Vitenskapsmuseet en tidlig vårdag.En: Erik blinked as he entered the busy Vitenskapsmuseet on an early spring day.No: Solen strømmet inn fra de store vinduene, opplyste den moderne interiøren med en myk glød.En: The sun streamed in through the large windows, illuminating the modern interior with a soft glow.No: Luften var fylt med spente stemmer og lyden av barn som lo.En: The air was filled with excited voices and the sound of children laughing.No: Ingrid sto ved en interaktiv utstilling om solsystemet, hennes strålende smil kunne lyse opp et helt rom.En: Ingrid stood by an interactive exhibit about the solar system, her radiant smile could light up an entire room.No: Hun bar en T-skjorte med stjernemotiv og et navneskilt som sa «Ingrid – Museets Science Kommunikator».En: She wore a t-shirt with a star motif and a name tag that said "Ingrid – Museum's Science Communicator."No: Hun elsket å formidle vitenskap til besøkende, spesielt når det handlet om hennes lidenskap: astronomi.En: She loved to convey science to visitors, especially when it was about her passion: astronomy.No: Erik trakk pusten dypt.En: Erik took a deep breath.No: Han hadde alltid vært fascinert av stjerner og planeter, men det var vanskelig for ham å snakke med fremmede.En: He had always been fascinated by stars and planets, but it was difficult for him to talk to strangers.No: Han ønsket å spørre Ingrid noe, men folk flokket seg rundt henne.En: He wanted to ask Ingrid something, but people flocked around her.No: Han følte seg så liten i mengden.En: He felt so small in the crowd.No: Mens han tok mot til seg, flyttet en gruppe videre, og han så sitt øyeblikk.En: As he gathered his courage, a group moved on, and he saw his moment.No: Han nærmet seg Ingrid nølende.En: He approached Ingrid hesitantly.No: "Hei," sa han forsiktig, "kan du fortelle meg mer om Saturns ringer?En: "Hi," he said cautiously, "can you tell me more about Saturn's rings?"No: "Ingrid snudde seg mot Erik og smilte varmt.En: Ingrid turned toward Erik and smiled warmly.No: "Selvfølgelig!En: "Of course!No: Saturns ringer er laget av is og steiner.En: Saturn's rings are made of ice and rocks.No: De er virkelig fascinerende, ikke sant?En: They are truly fascinating, aren't they?"No: "Samtalen deres fløt så lett etter de første ordene.En: Their conversation flowed so easily after the first words.No: Ingrid glemte nesten sine mange oppgaver da hun så hvor ivrig Erik var for å lære.En: Ingrid almost forgot her many tasks when she saw how eager Erik was to learn.No: Senere, da det nærmet seg tid for den live demonstrasjonen om den kommende solformørkelsen, fant Erik og Ingrid seg ved siden av hverandre.En: Later, as it was nearing time for the live demonstration of the upcoming solar eclipse, Erik and Ingrid found themselves next to each other.No: Publikum sirklet rundt dem, men de var i en verden av sine egne stjernefylte drømmer.En: The audience circled around them, but they were in a world of their own star-filled dreams.No: Under demonstrasjonen hvisket Erik til Ingrid: "Tenker du noen gang på hvordan vi egentlig sitter fast på en gigantisk snurrende blå kule i rommet?En: During the demonstration, Erik whispered to Ingrid, "Do you ever think about how we're really stuck on a giant spinning blue sphere in space?"No: "Ingrid lo.En: Ingrid laughed.No: "Hele tiden!En: "All the time!"No: " svarte hun.En: she replied.No: De delte små vitser og magiske øyeblikk som bare skyer av lys kunne bære.En: They shared little jokes and magical moments that only clouds of light could carry.No: Da demonstrasjonen var over, tok Erik nok en dyp pust.En: When the demonstration was over, Erik took another deep breath.No: "Jeg vet du er opptatt, men vil du ta en kaffe med meg?En: "I know you're busy, but would you like to have a coffee with me?No: Kanskje vi kan snakke mer om astronomi?En: Maybe we can talk more about astronomy?"No: " spurte han, håpefull.En: he asked, hopeful.No: Ingrid nikket.En: Ingrid nodded.No: "Jeg vil gjerne det.En: "I'd love that.No: La oss fortsette denne samtalen et sted med en god kopp kaffe.En: Let's continue this conversation somewhere with a good cup of coffee."No: "Mens Erik og Ingrid forlot utstillingshallen sammen, føltes det som om vårsolen skinnende enda sterkere.En: As Erik and Ingrid left the exhibition hall together, it felt as if the spring sun was shining even brighter.No: Erik følte seg modigere, og han visste at han hadde funnet en viktig forbindelse.En: Erik felt braver, and he knew he had found an important connection.No: Ingrid innså at selv i travle dager, var ekte samtaler med enkeltpersoner den virkelige nøkkelen til å inspirere.En: Ingrid realized that even on busy days, real conversations with individuals were the true key to inspiring.No: Og kanskje, bare kanskje, kunne dette være begynnelsen på noe spesielt.En: And maybe, just maybe, this could be the beginning of something special. Vocabulary Words:blinked: glippet med øynenebusy: travleilluminating: opplysteinterior: interiørenradiant: strålendemotif: stjernemotivconvey: formidlefascinated: fascinertflocked: flokket seghesitantly: nølendecautiously: forsiktigeager: ivrignearing: nærmet segaudience: publikumsphere: kulegigantic: gigantiskspinning: snurrendelaughed: loclouds: skyerdemonstration: demonstrasjonenhopeful: håpefullconnection: forbindelserealized: innsåindividuals: enkeltpersonerinspiring: inspirerebeginning: begynnelsenmoment: øyeblikkwarmly: varmttasks: oppgavermagical: magiske

This week we are sharing our Short Fiction Spotlight along with mini reviews of Upon a Starlit Tide and The Fourth Consort Short Fiction Spotlight: ”The Last Flesh Figure Skaters” written by Claire Jia-Wen, narrated by Lauren Choo [khōréō] ”An Intergalactic Smugglers Guide to Homecoming” written by Tia Tashiro, narrated by Kate Baker [Clarkesworld] - Issue 211: April 2024 ”The Slow Music of Drums” written by A.C. Wise, narrated by Wilson Fowlie [Psuedopod 950] ”Emily” written by Alexander Hewitt, narrated by Joe Moran [Cast of Wonders 617] ”The Coffee Machine” written by Celia Corral-Vázquez, translated by Sue Burke, and narrated by Kate Baker [Clarkesworld] - Issue 219: December 2024 ”T-Rex Tex-Mex” written by Sarina Dorie, narrated by Tina Connolly [Escape Pod 965] Reviews: Upon a Starlit Tide: written by Kell Woods / Narrated by: Esther Wane [Libro.fm] / [OverDrive/Libby] The Fourth Consort: written by Edward Ashton / Narrated by: Barrie Kreinik [Libro.fm] / [OverDrive/Libby]

I adore this novel; the fairytale steeped in history..so magical! I instantly felt transported to a magical 1758 Saint-Malo! I loved it! I got to chat with Kell Woods just before the novel was released and that was just such a dream...what an author, what a novel! I tried so hard not to spoil this novel for you, fingers crossed (or fins crossed even) I haven't, but let me know if you are going to read it next..its a hard recommend from me if you are at all in to fantasy, or not at all...it just a wonderful story!  And to join our ReadA Book community head on over to www.readabook.com.au. We are a wonderful collective of like minded book lovers where you can mix and mingle and be, and together we can all enjoy reading more

‘It's never been so important to be a mother of boys. We have to shape how our boys view the world, particularly when it comes to women.' The first episode of the Words & Nerds new season for 2025 has landed! Kell Woods and Dani Vee chat like old friends about the importance of parenting boys and teachable moments of positive masculinity. They also chat about finding a balance between mental health and creativity. Kell and Dani delve into fairytales and appropriating them for a new context where the portrayal of women and feminism becomes a central theme. Kell Woods is an Australian historical fantasy author. She studied English Literature, creative writing and librarianship, and has worked in libraries for the past twelve years. She's the author of After the Forest and Upon a Starlit Tide. Publisher: Harper Collins Music Credit: Happy Corporate Whistle, published by Four Track, Composed by Andre Albrecht

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Join our Premium Sleep for Women Channel on Apple Podcasts and get ALL 5 of our Sleep podcasts completely ad-free! Join Premium now on Apple here --> https://bit.ly/sleepforwomen  Hey, I'm so glad you're taking the time to be with us today. My team and I are dedicated to making sure you have all the meditations you need throughout all the seasons of your life.  If there's a meditation you desire, but can't find, email us at Katie Krimitsos to make a request. We'd love to create what you want!  Namaste, Beautiful,

In the echoes of a decisive battle, ace mecha pilot Kelvin struggles to keep his deteriorating giant robot semi-functional while reflecting on the war that brought him to the depths of space. Music: tunereel.com Save yourself from your damaged mech in Lost Among The Starlit Wreckage. Be sure to check out the other ttrpgs from Seamus Conneely.

Fluent Fiction - Swedish: Starlit Dreams: Elin's Journey to Confidence and Connection Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sv/episode/2024-12-31-08-38-20-sv Story Transcript:Sv: Kölden bet sig fast i trädens grenar utanför Sandviks Gymnasium.En: The cold gripped the branches of the trees outside Sandviks Gymnasium.Sv: Inomhus fylldes skolan av förväntan inför Nyårsfesten.En: Inside, the school was filled with anticipation for the New Year's party.Sv: Elin och Jakob hade precis fått uppdraget att dekorera gymnastiksalen.En: Elin and Jakob had just received the task of decorating the gymnasium.Sv: Elin funderade.En: Elin pondered.Sv: "Vi måste göra något speciellt," sa hon.En: "We have to do something special," she said.Sv: Här var en chans att skapa något fantastiskt.En: Here was a chance to create something amazing.Sv: Men tvivlet viskade i bakhuvudet.En: But doubt whispered in the back of her mind.Sv: Kan hon verkligen göra detta?En: Could she really do this?Sv: Jakob, populär och självsäker, verkade alltid veta vad han skulle göra.En: Jakob, popular and confident, always seemed to know what to do.Sv: Elin gnuggade händerna mot kylan, besluten att försöka.En: Elin rubbed her hands against the cold, determined to try.Sv: "Varför inte ha ett stjärnströdd himmeltema?"En: "Why not have a starlit sky theme?"Sv: föreslog hon försiktigt.En: she suggested cautiously.Sv: Jakob log, hans ögon glittrade.En: Jakob smiled, his eyes twinkling.Sv: "Det låter fantastiskt!"En: "That sounds fantastic!"Sv: Han verkade verkligen entusiastisk.En: He seemed genuinely enthusiastic.Sv: Tillsammans började de hänga upp ljusslingor och stjärnskärmar över hela salen.En: Together they began hanging up string lights and star screens throughout the hall.Sv: Elin upptäckte att hon trivdes i Jakobs sällskap.En: Elin found that she enjoyed Jakob's company.Sv: Hans snälla kommentarer fick henne att känna sig trygg.En: His kind comments made her feel safe.Sv: På väg ut från skolan efter en lång dag av förberedelser, mötte de Linnea.En: On their way out of the school after a long day of preparations, they ran into Linnea.Sv: Hon gav Elin en stöttande kram.En: She gave Elin a supportive hug.Sv: "Det kommer bli fantastiskt," försäkrade hon.En: "It's going to be fantastic," she assured her.Sv: Med Linneas ord i hjärtat, kände Elin att modet växte.En: With Linnea's words in her heart, Elin felt her courage grow.Sv: Dagen för dansen kom.En: The day of the dance arrived.Sv: Snön låg tung på marken, och himlen var klar.En: Snow lay heavy on the ground, and the sky was clear.Sv: Som eleverna klev in i den förtrollade gympasalen, häpnade de.En: As the students stepped into the enchanted gymnasium, they were amazed.Sv: Ljuset danade som en stjärnfylld himmel över deras huvuden.En: The lights shimmered like a star-filled sky above their heads.Sv: Elin stod blygt vid sidan, nervös men hoppfull.En: Elin stood shyly on the side, nervous but hopeful.Sv: Jakob närmade sig henne och sa, "Det här är verkligen något speciellt, Elin.En: Jakob approached her and said, "This is really something special, Elin.Sv: Vad lade du till för idéer?"En: What ideas did you add?"Sv: Med hjärtat i halsgropen berättade hon om stjärnorna och hur de symboliserade drömmar hon hade, drömmar hon inte vågade dela med någon.En: With her heart in her throat, she told him about the stars and how they symbolized dreams she had, dreams she dared not share with anyone.Sv: Men Jakob lyssnade med uppmärksamhet.En: But Jakob listened attentively.Sv: När kvällen fortskred tackade elev efter elev Elin för det magiska rummet.En: As the evening progressed, student after student thanked Elin for the magical room.Sv: För första gången kände hon sig accepterad och sedd.En: For the first time, she felt accepted and seen.Sv: Jakob, med ett brett leende, frågade: "Får jag äran att dansa med kvällens stjärna?"En: Jakob, with a broad smile, asked, "May I have the honor of dancing with the star of the evening?"Sv: De dansade under den strålande himlen av ljus, och Elin kände en varm trygghet, en nyfunnen tro på sig själv.En: They danced under the radiant sky of lights, and Elin felt a warm comfort, a newfound belief in herself.Sv: Och där, mitt i vinterns kyla, fann Elin inte bara modet att tro på sin kreativitet, utan också en ny vänskap spirande som en vårblomma i väntan på solen.En: And there, in the midst of winter's cold, Elin not only found the courage to believe in her creativity but also a new friendship blossoming like a spring flower waiting for the sun. Vocabulary Words:gripped: bet sig fastanticipation: förväntanpondered: funderadewhispered: viskadedetermined: beslutensuggested: föreslogtwinkling: glittradeenthusiastic: entusiastiskstring lights: ljusslingorscreens: skärmarcompany: sällskapsupportive: stöttandecourage: modblossoming: spirandeclear: klarenchanted: förtrolladeamazed: häpnadenervous: nervösshyly: blygtthroat: halsgropenattentively: med uppmärksamhetaccepted: accepteradhonor: äranradiant: strålandecomfort: trygghetbelief: trocreativity: kreativitetblossomed: spirandespring flower: vårblommawaiting: väntan

Fluent Fiction - Hebrew: Starlit Resolutions: A Hanukkah Tale of Change and Hope Find the full episode transcript, vocabulary words, and more:fluentfiction.com/he/episode/2024-12-29-23-34-01-he Story Transcript:He: השמש שקעה מאחורי ענני החורף, והאורחים נכנסו למוזיאון המדע, לחגוג את חג החנוכה.En: The sun set behind the winter clouds, and the guests entered the museum of science to celebrate Hanukkah.He: אבי ותמר נכנסו יחד, עטופים במעילים ואווירה חורפית מסביבם.En: Avi and Tamar entered together, wrapped in coats, with a wintry atmosphere surrounding them.He: מוזיאון המדע היה מלא משפחות וילדים סקרנים, מוקפים במוצגים אינטראקטיביים ומנורות חנוכה זורחות.En: The museum was full of families and curious children, surrounded by interactive exhibits and glowing Hanukkah lamps.He: בתוך התערוכות, המוזיקה העדינה של חג החנוכה נשמעה ברקע, אך האווירה החגיגית לא הצליחה להעלים את המתח בין אבי לתמר.En: Inside the exhibitions, the gentle music of Hanukkah played in the background, but the festive atmosphere couldn't erase the tension between Avi and Tamar.He: אבי, חובב המדע הנלהב, היה מדוכדך.En: Avi, an enthusiastic science lover, was dispirited.He: הוא עצר בתצוגת המכונה 'עולם הפיזיקה', ונזכר איך תיכנן לכבוד תערוכה מיוחדת עם תמר.En: He stopped at an exhibit called 'World of Physics,' and recalled how he had planned a special exhibition with Tamar.He: הוא הסתובב ופנה אליה בעיניים מדוכדכות.En: He turned to her with downcast eyes.He: "תמר, הבטחת לי שנעשה את המצגת לכולם.En: "Tamar, you promised me we would do the presentation for everyone.He: זה היה חשוב לי.En: It was important to me.He: למה לא באת?En: Why didn't you come?"He: "תמר, בצעיפים צבעוניים, הסתכלה בחצי עין על יצירה אומנותית בבניית המוצגת האינטראקטיבית של הכוכבים.En: Tamar, in colorful scarves, glanced sideways at an artistic creation in the interactive display of the stars.He: היא ניסתה להישאר רגועה.En: She tried to stay calm.He: "אבי, היה לי צונמי של השראה לאמנים, משהו שלא תוכל להבין.En: "Avi, I had a tsunami of inspiration for artists, something you wouldn't understand.He: אני באמת מצטערת.En: I really am sorry."He: ""זה לא תירוץ תמר.En: "That's no excuse, Tamar.He: אני צריך אותך לידי.En: I need you by my side.He: הבטחתי לנו חוויות כיפיות יחד", השיב אבי, קולו רועד מלים.En: I promised us fun experiences together," Avi replied, his voice trembling with emotion.He: "תראה את הכוכבים האלה," תמר הצביעה למעלה אל התצוגה הפלנטריונית המרהיבה.En: "Look at those stars," Tamar pointed up at the spectacular planetarium display.He: "לא תכננתי שזה יקרה, אבל אולי ניצור משהו חדש יחד?En: "I didn't plan for this to happen, but maybe we can create something new together?He: בכל פעם מחדש, אני רואה את היופי שבמקרה.En: Every time, I see the beauty in the unexpected."He: "באותה השנייה, עברו כוכבים בזמן שהמוזיקה הפלנטריונית החלה להתנגן.En: At that moment, stars passed as the planetarium music began to play.He: אבי הרגיש שמשהו משתנה בתוכו.En: Avi felt something change within him.He: אולי תמר באמת עובדת בדרך שונה, אך זו דרך שפותחת אפשרויות חדשות.En: Perhaps Tamar truly works in a different way, but it's a way that opens new possibilities.He: "תמר," הוא אמר בשקט, הראש שלו פונה אל הכוכבים הנעים מעליו, "אני מבין.En: "Tamar," he said quietly, his head turned towards the moving stars above him, "I understand.He: אולי נשנה את התוכנית יחד, לרעיון חדש.En: Maybe we can change the plan together, to a new idea.He: משהו משלנו.En: Something of our own."He: "תמר חייכה, וקיבלה את ההצעה בהתלהבות.En: Tamar smiled and accepted the offer with enthusiasm.He: "באמת אבי?En: "Really, Avi?He: כן, אני יכולה להיות מתחשבת יותר, ואני רוצה לראות לאן נוכל להגיע יחד.En: Yes, I can be more considerate, and I want to see where we can go together."He: "השניים הביטו אחד בשנייה, מסכימים להתחיל מחדש דרך חדשה ומסקרנת.En: The two looked at each other, agreeing to start anew on an intriguing path.He: כוכבי הפלנטריום המשיכו לנוע, מספרים סיפורים של חברות ואמנות משתנה, בעוד מנורות חג החנוכה זורחות ולבבותיהם נפתחים לכיוון חדש ומלא תקווה.En: The planetarium stars continued to move, telling stories of friendship and evolving art, while the Hanukkah lamps glowed and their hearts opened toward a new and hopeful direction. Vocabulary Words:set: שקעהguests: אורחיםwintry: חורפיתcurious: סקרניםexhibits: מוצגיםglowing: זורחותgentle: עדינהerase: להעליםtense: המתיdispirited: מדוכדךexhibit: תצוגתdowncast: מדוכדכותpromise: הבטחתtsunami: צונמיinspiration: השראהexcuse: תירוץtrembling: רועדtogether: יחדunexpected: במקרהplanetarium: פלנטריוניתcreate: ליצורpossibly: אפשרויותenthusiasm: בהתלהבותconsiderate: מתחשבתevolving: משתנהinteractive: אינטראקטיבייםatmosphere: אווירהartistic: אומנותיתspectacular: מרהיבהquietly: בשקטBecome a supporter of this podcast: https://www.spreaker.com/podcast/fluent-fiction-hebrew--5818690/support.

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers     The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia     The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs     The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow #sundaynightmystery #lymebayradio fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

i saw our main writer talking to a wizard a couple of weeks ago, but did my best to put it out of my mind. i know they like wizards, both metaphorical and literal, and we had podcasts to record. last night i found them being eaten up by some kind of magical plant while battling someone who was dressed in what looked like a sexy nun outfit from spirit halloween. they will be missed. this episode is about hibino and chikane, the type moon mascots, and their adventures.Next time, we'll be covering hana no miyako. for yuri teatime we're covering Cléo from 5 to 7.Featuring co-hosts Benn Ends (@bennends) and fen (@fenic_fox).Support the show and get access to bonus episodes: https://www.patreon.com/cryingrulesLink to Moon Archive Schedule Masterlist: http://moonarchive.art/scheduleSECTION TIMESTAMPS:intro - 0:00yuri teatime - 4:34la chinoise - 7:18idol x idol - 26:35the quintessential quintuplets - 38:09??? arknights? - 1:10:15mahou tsukai no hako: starlit marmalade - 1:13:16outro - 1:43:02LIST OF NON TYPE-MOON WORKS REFERENCEDla chinoiseidol x idolthe quintessential quintupletsarknightsThis episode carries content warnings for discussions of communism, magic, and curry.Email us at cryingrulesactually@gmail.com with questions, comments, and compliments.Cover art by Benn Ends, Intro music by Benn Ends, remaining music from works covered and kuuchuu buranko.

Fluent Fiction - Swedish: Courage Under Starlit Skies: Axel's Autumn Adventure Find the full episode transcript, vocabulary words, and more:fluentfiction.org/courage-under-starlit-skies-axels-autumn-adventure Story Transcript:Sv: Axel tog ett djupt andetag och såg ut över havet.En: Axel took a deep breath and looked out over the sea.Sv: Det var en kylig höstdag i Stockholms skärgård.En: It was a chilly autumn day in Stockholms skärgård.Sv: Löven på träden skiftade i färg, från gyllengult till djuprött.En: The leaves on the trees were changing colors, from golden yellow to deep red.Sv: Axel hade planerat en campingresa tillsammans med sina vänner Elin och Maja.En: Axel had planned a camping trip together with his friends Elin and Maja.Sv: Han ville visa sina kunskaper i naturen och imponera på dem.En: He wanted to show off his skills in nature and impress them.Sv: De tre vännerna anlände till en liten ö med sin utrustning.En: The three friends arrived on a small island with their equipment.Sv: Det första de gjorde var att sätta upp tältet.En: The first thing they did was set up the tent.Sv: Elin och Maja skrattade och hjälpte till.En: Elin and Maja laughed and helped.Sv: Axel log nervöst.En: Axel smiled nervously.Sv: Han ville inte visa sin rädsla för mörkret.En: He didn't want to show his fear of the dark.Sv: Att vara ensam i skogen skrämde honom mer än han ville erkänna.En: Being alone in the forest scared him more than he wanted to admit.Sv: När tältet var klart, satte de sig vid elden och grillade korv.En: When the tent was ready, they sat by the fire and grilled sausages.Sv: Solen började sakta gå ned över horisonten.En: The sun slowly began to set over the horizon.Sv: En kyla svepte in och Axel kände hur hans hjärta slog snabbare.En: A chill swept in, and Axel felt his heart beat faster.Sv: Snart skulle mörkret komma.En: Soon the darkness would come.Sv: Men han behöll sitt leende för att inte oroa sina vänner.En: But he kept his smile to avoid worrying his friends.Sv: "Kom, vi tar en promenad," föreslog Elin efter middagen.En: "Come on, let's take a walk," suggested Elin after dinner.Sv: Maja nickade ivrigt.En: Maja nodded eagerly.Sv: Axel tvekade men skjulte sin oro.En: Axel hesitated but hid his concern.Sv: "Självklart!"En: "Of course!"Sv: svarade han och reste sig.En: he replied and stood up.Sv: De begav sig in i skogen, skrattande och skojande.En: They set off into the forest, laughing and joking.Sv: Löven prasslade under deras fötter.En: The leaves rustled under their feet.Sv: Men snart blev det alltför mörkt och facklan brann svagt.En: But soon it became too dark and the torch burned dimly.Sv: Axel började känna sig orolig.En: Axel started to feel anxious.Sv: Han måste hålla sig lugn, för vänners skull.En: He had to stay calm, for his friends' sake.Sv: Plötsligt hörde han ett ljud bakom sig.En: Suddenly, he heard a noise behind him.Sv: Han vände sig om och märkte att Elin och Maja hade gått i en annan riktning.En: He turned around and noticed that Elin and Maja had gone in a different direction.Sv: "Hallå?"En: "Hello?"Sv: ropade Axel.En: called Axel.Sv: Ingen svarade.En: No one answered.Sv: Hjärtat rusade i bröstet.En: His heart raced in his chest.Sv: Han var ensam.En: He was alone.Sv: Mörkret omgav honom, och rädslan grep tag i honom.En: Darkness surrounded him, and fear seized him.Sv: Axel andades djupt och försökte samla sig.En: Axel breathed deeply and tried to collect himself.Sv: Han visste att han måste hitta tillbaka till lägret.En: He knew he had to find his way back to the camp.Sv: Han mindes stigen och började gå försiktigt.En: He remembered the path and started walking cautiously.Sv: "Du kan göra det," mumlade han för sig själv.En: "You can do it," he mumbled to himself.Sv: Efter vad som kändes som en evighet, såg han äntligen eldens ljus.En: After what felt like an eternity, he finally saw the light of the fire.Sv: Han skyndade sig fram.En: He hurried forward.Sv: Elin och Maja satt där och väntade.En: Elin and Maja were sitting there, waiting.Sv: När de såg honom brast de ut i skratt av lättnad.En: When they saw him, they burst out laughing with relief.Sv: "Vi trodde du hade blivit uppäten av ormar eller något!"En: "We thought you'd been eaten by snakes or something!"Sv: skojade Maja.En: joked Maja.Sv: Axel skrattade med dem, men kände sig varm inombords.En: Axel laughed with them, but felt warm inside.Sv: Han insåg att det var okej att vara rädd och att han kunde lita på sina vänner.En: He realized it was okay to be afraid, and that he could trust his friends.Sv: När natten föll på och stjärnorna började glimma, kände Axel sig fredlig.En: As night fell and the stars began to twinkle, Axel felt at peace.Sv: Han hade lärt sig något viktigt den kvällen.En: He had learned something important that evening.Sv: Det klokaste hans vänner kunde göra för honom var att vara där, och det räckte.En: The wisest thing his friends could do for him was to be there, and that was enough.Sv: Med lätt hjärta kröp han in i tältet, och när han slöt ögonen, hörde han vännernas lugna andetag.En: With a light heart, he crawled into the tent, and as he closed his eyes, he heard his friends' calm breaths.Sv: Även i mörkret, var han inte ensam längre.En: Even in the dark, he was no longer alone. Vocabulary Words:chilly: kyligautumn: höstarchipelago: skärgårdplanned: planeratcamping: campingequipment: utrustningimpress: imponeradark: mörkretforest: skogenset up: sätta upptent: tältetnervously: nervöstadmit: erkännaswept: sveptehorizon: horisontenconcern: orotorch: facklananxious: oroligseized: grep tag icautiously: försiktigteternity: evighetraced: rusadesurrounded: omgavrelief: lättnadjoked: skojadetrust: lita påtwinkle: glimmapeace: fredligwise: klokastecalm: lugna

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Today we're talking about Lost Among the Starlit Wreckage by Seamus Conneely! A game about a dying mech and the person trying to save the pilot trapped inside!Get Lost Among the Starlit Wreckage on itch.io! Check out Seamus' other games on itch.io!---Discussed in the episode---Visit our website!Support the show on Kofi!Follow us on Twitch!Follow the show on Bluesky!Check out The Worst Garbage Online!---Art by Tara CrawfordMusic by _amaranthineAdditional sounds by BoqehProduced and edited by AJ Fillari---Timecodes:{{cha (00:00) - The fast food triforce (00:29) - Chase, the unflappable (01:16) - What is Lost Among the Starlit Wreckage? (02:27) - Chase's solo experience (06:14) - Setting the scene (09:47) - The Ballad of BALLAST and DRYWALL (33:06) - And... scene! (33:42) - Chase's solo playthrough (43:16) - Our feelings about the game (51:46) - Big Takeaways (51:51) - AJ's Big Takeaways (53:16) - Chase's Big Takeaway (57:42) - Talkin' about mecha fiction (59:44) - Surprise it's the outro!

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   The Man Called X An espionage radio drama that aired on CBS and NBC from July 10, 1944, to May 20, 1952. The radio series was later adapted for television and was broadcast for one season, 1956–1957. People Herbert Marshall had the lead role of agent Ken Thurston/"Mr. X", an American intelligence agent who took on dangerous cases in a variety of exotic locations. Leon Belasco played Mr. X's comedic sidekick, Pegon Zellschmidt, who always turned up in remote parts of the world because he had a "cousin" there. Zellschmidt annoyed and helped Mr. X. Jack Latham was an announcer for the program, and Wendell Niles was the announcer from 1947 to 1948. Orchestras led by Milton Charles, Johnny Green, Felix Mills, and Gordon Jenkins supplied the background music. William N. Robson was the producer and director. Stephen Longstreet was the writer. Production The Man Called X replaced America — Ceiling Unlimited on the CBS schedule. Television The series was later adapted to a 39-episode syndicated television series (1956–1957) starring Barry Sullivan as Thurston for Ziv Television. Episodes Season 1 (1956) 1 1 "For External Use Only" Eddie Davis Story by : Ladislas Farago Teleplay by : Stuart Jerome, Harold Swanton, and William P. Templeton January 27, 1956 2 2 "Ballerina Story" Eddie Davis Leonard Heideman February 3, 1956 3 3 "Extradition" Eddie Davis Ellis Marcus February 10, 1956 4 4 "Assassination" William Castle Stuart Jerome February 17, 1956 5 5 "Truth Serum" Eddie Davis Harold Swanton February 24, 1956 6 6 "Afghanistan" Eddie Davis Leonard Heidman March 2, 1956 7 7 "Embassy" Herbert L. Strock Laurence Heath and Jack Rock March 9, 1956 8 8 "Dangerous" Eddie Davis George Callahan March 16, 1956 9 9 "Provocateur" Eddie Davis Arthur Weiss March 23, 1956 10 10 "Local Hero" Leon Benson Ellis Marcus March 30, 1956 11 11 "Maps" Eddie Davis Jack Rock May 4, 1956 12 12 "U.S. Planes" Eddie Davis William L. Stuart April 13, 1956 13 13 "Acoustics" Eddie Davis Orville H. Hampton April 20, 1956 14 14 "The General" Eddie Davis Leonard Heideman April 27, 1956 Season 2 (1956–1957) 15 1 "Missing Plates" Eddie Davis Jack Rock September 27, 1956 16 2 "Enemy Agent" Eddie Davis Teleplay by : Gene Levitt October 4, 1956 17 3 "Gold" Eddie Davis Jack Laird October 11, 1956 18 4 "Operation Janus" Eddie Davis Teleplay by : Jack Rock and Art Wallace October 18, 1956 19 5 "Staff Headquarters" Eddie Davis Leonard Heideman October 25, 1956 20 6 "Underground" Eddie Davis William L. Stuart November 1, 1956 21 7 "Spare Parts" Eddie Davis Jack Laird November 8, 1956 22 8 "Fallout" Eddie Davis Teleplay by : Arthur Weiss November 15, 1956 23 9 "Speech" Eddie Davis Teleplay by : Ande Lamb November 22, 1956 24 10 "Ship Sabotage" Eddie Davis Jack Rock November 29, 1956 25 11 "Rendezvous" Eddie Davis Ellis Marcus December 5, 1956 26 12 "Switzerland" Eddie Davis Leonard Heideman December 12, 1956 27 13 "Voice On Tape" Eddie Davis Teleplay by : Leonard Heideman December 19, 1956 28 14 "Code W" Eddie Davis Arthur Weiss December 26, 1956 29 15 "Gas Masks" Eddie Davis Teleplay by : Jack Rock January 3, 1957 30 16 "Murder" Eddie Davis Lee Berg January 10, 1957 31 17 "Train Blow-Up" Eddie Davis Ellis Marcus February 6, 1957 32 18 "Powder Keg" Jack Herzberg Les Crutchfield and Jack Rock February 13, 1957 33 19 "Passport" Eddie Davis Norman Jolley February 20, 1957 34 20 "Forged Documents" Eddie Davis Charles Mergendahl February 27, 1957 35 21 "Australia" Lambert Hill Jack Rock March 6, 1957 36 22 "Radio" Eddie Davis George Callahan March 13, 1957 37 23 "Business Empire" Leslie Goodwins Herbert Purdum and Jack Rock March 20, 1957 38 24 "Hungary" Eddie Davis Fritz Blocki and George Callahan March 27, 1957 39 25 "Kidnap" Eddie Davis George Callahan April 4, 1957 sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia   The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs   The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theaters throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theater and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Hey, I'm so glad you're taking the time to be with us today. My team and I are dedicated to making sure you have all the meditations you need throughout all the seasons of your life.  If there's a meditation you desire, but can't find, email us at hello@womensmeditationnetwork.com to make a request. We'd love to create what you want!  Namaste, Beautiful,

Embark on a celestial journey through guided meditation. Visualize a shimmering path of silver or gold stars, each step massaging away stress. Find yourself surrounded by twinkling stars in the vastness of space. As you walk slowly, feel the energy of the cosmos, absorbing its expansive, loving essence. Experience your heart expanding and a profound calm settling over you. Connect with angelic presences and your galactic family, allowing waves of love to wash over you. Release anxiety and embrace the vibrations of universal love. Sue Broome https://www.facebook.com/sue.broome.10 www.suebroome.com Please set the intention to receive then relax and enjoy! Enlightened World Network is your guide to inspirational online programs about the spiritual divinity, angels, energy work, chakras, past lives, or soul. Learn about spiritually transformative authors, musicians and healers. From motivational learning to inner guidance, you will find the best program for you. Check out our website featuring over 200 spirit-inspired lightworkers specializing in meditation, energy work and angel channeling www.enlightenedworld.online Enjoy inspirational and educational shows at http://www.youtube.com/c/EnlightenedWorldNetwork To sign up for a newsletter to stay up on EWN programs and events, sign up here:https://lp.constantcontactpages.com/su/FBoFQef/web Enlightened World Network is now available on Apple Podcast, Google Podcast, Podbean, Spotify, and Amazon Music. Link to EWN's disclaimer: https://enlightenedworld.online/disclaimer/ #Guidedmeditation #spiritualjourney #ArchangelMichaelMeditation #morningmeditations #lightworker

We all know that Thingol married up, but our time in The Lay of Leithian today really gives us some insight as to why. Also, we meet Daeron — forgotten harper, singer doomed.

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Fluent Fiction - Mandarin Chinese: Spicy Red Confessions: A Mandarin Mix-Up Under Beijing's Starlit Sky Find the full episode transcript, vocabulary words, and more:fluentfiction.org/spicy-red-confessions-a-mandarin-mix-up-under-beijings-starlit-sky Story Transcript:Zh: 当灯光变得羞涩，当北京这座城市披上了层层黑幕，李雷站在一道闪烁的霓虹灯下，他眼中的反射如同代码，揭示出内心的犹豫与期待。En: As the lights became dim, and Beijing was draped in layers of darkness, Li Lei stood under a blinking neon light, his reflection in his eyes shining like code, revealing his inner hesitation and anticipation.Zh: 他拖着疲惫的身躯走进了他最爱的川菜馆——"辣里红"，位于朝阳区的一条繁华街道上。En: He dragged his weary body into his favorite Sichuan restaurant, "Spicy Red," located on a bustling street in Chaoyang District.Zh: 这是个将北京都市的魅力与川菜的风味糅合在一起的地方，也是李雷的夜晚避难所。En: It was a place that blended the charm of urban Beijing with the flavors of Sichuan cuisine, and it was Li Lei's sanctuary for the night.Zh: [冲突]"你要点什么呢，先生?En: [Conflict] "What would you like, sir?"Zh: " 服务员礼貌地问道，手里拿着笔和菜单就绪。En: the waiter asked politely, holding a pen and menu ready.Zh: 李雷，思考了一会儿，看向眼前满是辣椒和麻椒标志的菜单，笑了笑说："我要那个，恩，我爱你.En: After some thought, Li Lei looked at the menu full of chili and peppercorn symbols in front of him, smiled, and said, "I'll have that, um, I love you... oh, no, I'll have the grilled fish, spicy."Zh: 哦，不，我要烤鱼，麻辣的。En: Li Lei intended to order his beloved spicy grilled fish, but the words "I love you" slipped out unintentionally.Zh: ”李雷本意是要点他心爱的麻辣烤鱼，“我爱你”这三个字却无意间滑出口，这瞬间，那个服务员的表情是惊愕的，她想也没想就红着脸跑去了厨房。En: In that instant, the waiter's expression was one of shock, and without thinking, she blushed and hurried off to the kitchen.Zh: 李雷规矩地坐在那里，觉得自己像一尊雕像，五味杂陈。En: Li Lei sat there awkwardly, feeling like a statue, mixed emotions swirling within him.Zh: [解决]面对这突如其来的局面，李雷只能额头流汗。En: [Resolution] Faced with this unexpected situation, Li Lei could only sweat nervously.Zh: 他立即解释说：“非常对不起，我口误了，让你误解了。En: He quickly explained, "I'm terribly sorry, I misspoke and caused a misunderstanding."Zh: ”服务员从厨房喷薄而出，她听到解释后，终于松了口气，娇羞的脸上显出了善解人意的笑容。En: The waiter rushed out of the kitchen upon hearing the explanation, finally relieved, and a understanding smile bloomed on her shy face.Zh: 李雷告诉服务员，他只是因为太喜欢那道麻辣烤鱼，那刺激的口感就像是表达爱意般的热烈，再加上他用普通话讲说话时的口误，所以才会出现这样的一幕。En: Li Lei explained to the waiter that he just loved the spicy grilled fish so much, its stimulating taste akin to the warmth of expressing affection, combined with his slip of tongue while speaking Mandarin, leading to this scene.Zh: [结局]最后，他们俩都笑了起来。En: [Conclusion] In the end, they both laughed.Zh: 虽然有些窘迫，但却也留下了一个可爱的误会。En: Despite the embarrassment, a cute misunderstanding was left behind.Zh: 服务员尽快的为李雷上了热气腾腾的烤鱼，李雷满足地看着那道美食，心里暗自发誓下次再来这家店的时候，一定要多加小心，尤其是用普通话点餐。En: The waiter promptly served Li Lei a steaming hot grilled fish, and as he looked satisfied at the delicious dish, he silently vowed to be more careful, especially when ordering in Mandarin, the next time he visited the restaurant.Zh: 那天晚上的北京，街头巷尾弥漫着辣椒的香气，一道小小的误会像蔓延的香辣，温暖了星光下的都市。En: That night in Beijing, the aroma of chili filled the streets and alleys, a small misunderstanding spreading like a fragrant spiciness, warming the urban landscape under the starlight.Zh: 而李雷的夜晚，也因一句“我爱你”的口误，变得独特而难忘。En: And Li Lei's night, with the slip of an "I love you," became unique and unforgettable. Vocabulary Words:lights: 灯光Beijing: 北京Li Lei: 李雷neon light: 霓虹灯reflection: 反射code: 代码hesitation: 犹豫anticipation: 期待Sichuan: 川菜restaurant: 餐馆Spicy Red: 辣里红bustling street: 繁华街道Chaoyang District: 朝阳区conflict: 冲突waiter: 服务员menu: 菜单chili: 辣椒peppercorn: 花椒grilled fish: 烤鱼spicy: 麻辣misunderstanding: 误会resolution: 解决sweat nervously: 流汗apologize: 道歉relieved: 放心understanding smile: 理解的微笑embarrassment: 尴尬fragrant: 香的unique: 独特unforgettable: 难忘

Paine Radio ClassicsWe Cannot Say Much of the 'Really Good Stuff' on Here That's Why We Created Paine.tv YOU CAN CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE *** GET the Intel that's Too Hot For Anywhere Else at P A IN E. TV CONTRIBUTE TO THE SHOW BY CLICKING THIS LINK -- *** DONATE HERE *** ...

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Once upon a time, in a world tucked away between the veils of reality and dreams, there existed a place called the Starlit Slumber. This mystical realm was a tranquil haven where people from all walks of life would visit when they closed their eyes at night. It was a land bathed in the soft glow of starlight, where the most extraordinary dreams and adventures awaited those who ventured there. In the heart of the Starlit Slumber, there lived an enigmatic figure known as the Dreamweaver. The Dreamweaver was an ageless being who possessed the unique ability to craft dreams and lullabies. Each night, the Dreamweaver would embark on a journey across the Starlit Slumber, collecting stardust from the wisps of dreams that floated in the night sky. One particularly enchanting evening, the Dreamweaver set out on a quest to collect stardust for a special dream. It was a dream meant for a weary traveler named Alice, who had been wandering through life feeling lost and disconnected from the world. The Dreamweaver had sensed the longing in Alice's heart and decided to weave a dream that would help her find her way.

In this week's issue of The Comic Section Podcast, excitement is in the air as we have a special guest joining us—Theo Powers, the creator of the upcoming horror animation show, "Starlit Avenue." Before delving into the interview, we kick things off by discussing the latest castings for James Gunn's "Superman: Legacy." The new additions include Skyler Gisondo as Jimmy Olsen, Sara Sampaio as Eve Teschmacher, and Nicholas Hoult as Lex Luthor. We explore the potential impact of these castings on the upcoming project and share our initial thoughts. Next on the agenda is news about 'Scream 7,' which faces a full creative reboot after losing Jenna Ortega. The wish list of fans includes names like Neve Campbell and Patrick Dempsey, and we discuss the challenges and opportunities associated with a creative reboot in a long-running horror franchise. In a significant development in the Star Wars universe, Dave Filoni receives a major promotion at Lucasfilm, now becoming the Chief Creative Officer for Star Wars. We explore the implications of this promotion for the Star Wars franchise and Filoni's role in shaping its creative direction. The second half of the episode is dedicated to the interview with Theo Powers about the upcoming horror animation show, "Starlit Avenue." We go in-depth, discussing what inspired Theo to create the show, their thoughts on the horror genre, and their favorite horror films. The interview provides valuable insights into the creative process behind "Starlit Avenue" and builds anticipation for its release. Tune in to this week's episode of The Comic Section Podcast for an engaging discussion on the latest castings in superhero cinema, the challenges of rebooting a horror franchise, and an insightful interview with Theo Powers about the upcoming horror animation show, "Starlit Avenue." It's a must-listen for fans of horror, animation, and all things geek culture!

Invités : Melville, KhelrenChroniqueur : Matthieu BAnimation et montage : Lam Son Couverture de la version Française du jeu « Mobile Frame Zero: Firebrands » de D. Vincent Baker De plus en plus de jeux sont dits « Propulsés par l'Apocalypse » (PbtA). Dernièrement par exemple Avatar Legendes, s'est foulancé en Français pour plusieurs centaines de milliers d'euros en étant à la fois adossé à la licence Avatar le dernier maître de l'air et propulsé par le système de jeu d'Apocalypse World. Les créateurs de ce système, Meguey et Vincent Baker, ne sont pas du genre à se contenter de ce succès. Leur créativité débordante nous a valu de nombreux jeux toujours extrêmement novateurs mais au succès plus confidentiel (sauf dans les cercles alternatifs) comme Dogs in the Vineyard, Psi*Run, ou la sanglante quête du barbare récemment publiée en Français par Gulix. Et puis il y a eu Mobile Frame Zero: Firebrands, dont on décortique le système pendant cette émission, ainsi que les jeux qui en descendent comme autant d'escarbilles issues du même brandon enflammé. Même si aucun anglophone n'a revendiqué un terme spécifique pour désigner ces jeux, nos chroniqueu.r.euse.s sont assez tête-brûlées pour leur assigner un nom: Enflammés par Firebrands (Ignited by Firebrands). Ces jeux enflammés par Firebrands ont la particularité d'être constitués de plusieurs mini-jeux. Chaque mini-jeu est régit par ses règles propres et permet de gérer un type de scène typique d'une fiction pleine de drama : duel, bal, poursuite, escarmouche, romance et intimité entre deux personnages, etc. Le lien mécanique entre ces mini-jeux est souvent ténu voir inexistant, ce qui n'empêche pas de construire des histoires cohérentes et cinématographiques avec le minimum de préparation. Minute par minute 0:02:23Mobile Frame Zero: Firebrands0:02:58Once more into the void0:04:22Le Roi est Mort0:05:52Kissing capes0:07:25Structure et définition0:09:29Party game pour tous0:11:17Semer une belle pagaille ! Tomber amoureux de ses ennemis ! Combattre ses amis et s'allier à ses rivaux ! 0:12:59On ne joue pas un groupe de personnages0:14:12Le mini-jeu solitaire0:14:57Par quoi sont définis les personnages (spoiler, pas par des stats)0:17:20Historique: de Swashbuckling Romance aux descendants récents0:25:26Chaînons entre Apocalypse World et Firebrands0:30:21Spin the beetle : romance entre insectes0:32:05Vast and Starlit, le grand-père des jeux itch.io0:33:40Gestion de la conversation dans les PbtA vs dans Firebrands0:36:49Le mini-jeu de romance: une merveille de consentement0:40:03Le mini-jeu de duel0:42:04Le mini-jeu de poursuite0:42:19Le mini-jeu de bal0:44:40Aspect cinématographique0:46:20Comment se construit la cohérence ?0:51:27Paralysie du choix de mini-jeu0:58:07Culture de jeu américaine vs européenne1:01:31Peut-on jouer en campagne ?1:04:16La fine fleur, un jeu Flower Punk de Melville, à paraître1:05:24Difficulté à écrire1:11:24Réutilisation des mini-jeux1:20:36La Reine a aspiré l'oxygène des brandons1:22:08Yazeba's Bed and Breakfast, une descendance probable1:29:25Le passé et le futur du JdR c'est des mini-jeux1:31:51Autres jeux allumés par Firebrands1:34:31Nom ? Jeux cités dans cette émission Les ancêtres Vast and Starlit d'Epidiah RavacholA Swashbuckling Romance Game de D. Vincent BakerThe Sundered land de Meguey et Vincent BakerSpin the beetle de Meguey et Vincent BakerMobile Frame Zero: Rapid Attack de Joshua A.C. Newman, Vincent et Sebastian BakerMobile Frame Zero: Firebrands de Vincent Baker, traduit en Français par Volsung, JC Nau et Matthieu B Les descendants revendiqués The King is Dead de Meguey & Vincent Baker, traduit en Français par Khelren sous le titre : Le roi est mortIn dreaming Avalon de Meguey & Vincent BakerOnce more into the void de Rae NedjadiKissing Capes de Loren PetersonSharehouse de Idle CartularyMiss Bernburg's Finishing School for Young Ladies de Andrea RickPreparing for Paris de Logan TimminsAces in Space: Firebrands de HaraldFor the Honor par VegaOne particular Harbor de Meghan CrossYou can check out any time you like but you can never leave, de MarnTo See with Eyes Unclouded by Hate de WaytooshinySuperstars : Racing Icons de Britt A Willis et Pete Volk traduit en Français par Matthieu BDans la cour de la Princesse de la Lune par TyrannoeilEt au delà, une collection de 47 jeux enflammés par Firebrands Descendance probable Yazeba's Bed And Breakfast de Jay Dragons

Invités : Melville, KhelrenChroniqueur : Matthieu BAnimation et montage : Lam Son Couverture de la version Française du jeu « Mobile Frame Zero: Firebrands » de D. Vincent Baker De plus en plus de jeux sont dits « Propulsés par l'Apocalypse » (PbtA). Dernièrement par exemple Avatar Legendes, s'est foulancé en Français pour plusieurs centaines de milliers d'euros en étant à la fois adossé à la licence Avatar le dernier maître de l'air et propulsé par le système de jeu d'Apocalypse World. Les créateurs de ce système, Meguey et Vincent Baker, ne sont pas du genre à se contenter de ce succès. Leur créativité débordante nous a valu de nombreux jeux toujours extrêmement novateurs mais au succès plus confidentiel (sauf dans les cercles alternatifs) comme Dogs in the Vineyard, Psi*Run, ou la sanglante quête du barbare récemment publiée en Français par Gulix. Et puis il y a eu Mobile Frame Zero: Firebrands, dont on décortique le système pendant cette émission, ainsi que les jeux qui en descendent comme autant d'escarbilles issues du même brandon enflammé. Même si aucun anglophone n'a revendiqué un terme spécifique pour désigner ces jeux, nos chroniqueu.r.euse.s sont assez tête-brûlées pour leur assigner un nom: Enflammés par Firebrands (Ignited by Firebrands). Ces jeux enflammés par Firebrands ont la particularité d'être constitués de plusieurs mini-jeux. Chaque mini-jeu est régit par ses règles propres et permet de gérer un type de scène typique d'une fiction pleine de drama : duel, bal, poursuite, escarmouche, romance et intimité entre deux personnages, etc. Le lien mécanique entre ces mini-jeux est souvent ténu voir inexistant, ce qui n'empêche pas de construire des histoires cohérentes et cinématographiques avec le minimum de préparation. Minute par minute 0:02:23Mobile Frame Zero: Firebrands0:02:58Once more into the void0:04:22Le Roi est Mort0:05:52Kissing capes0:07:25Structure et définition0:09:29Party game pour tous0:11:17Semer une belle pagaille ! Tomber amoureux de ses ennemis ! Combattre ses amis et s'allier à ses rivaux ! 0:12:59On ne joue pas un groupe de personnages0:14:12Le mini-jeu solitaire0:14:57Par quoi sont définis les personnages (spoiler, pas par des stats)0:17:20Historique: de Swashbuckling Romance aux descendants récents0:25:26Chaînons entre Apocalypse World et Firebrands0:30:21Spin the beetle : romance entre insectes0:32:05Vast and Starlit, le grand-père des jeux itch.io0:33:40Gestion de la conversation dans les PbtA vs dans Firebrands0:36:49Le mini-jeu de romance: une merveille de consentement0:40:03Le mini-jeu de duel0:42:04Le mini-jeu de poursuite0:42:19Le mini-jeu de bal0:44:40Aspect cinématographique0:46:20Comment se construit la cohérence ?0:51:27Paralysie du choix de mini-jeu0:58:07Culture de jeu américaine vs européenne1:01:31Peut-on jouer en campagne ?1:04:16La fine fleur, un jeu Flower Punk de Melville, à paraître1:05:24Difficulté à écrire1:11:24Réutilisation des mini-jeux1:20:36La Reine a aspiré l'oxygène des brandons1:22:08Yazeba's Bed and Breakfast, une descendance probable1:29:25Le passé et le futur du JdR c'est des mini-jeux1:31:51Autres jeux allumés par Firebrands1:34:31Nom ? Jeux cités dans cette émission Les ancêtres Vast and Starlit d'Epidiah RavacholA Swashbuckling Romance Game de D. Vincent BakerThe Sundered land de Meguey et Vincent BakerSpin the beetle de Meguey et Vincent BakerMobile Frame Zero: Rapid Attack de Joshua A.C. Newman, Vincent et Sebastian BakerMobile Frame Zero: Firebrands de Vincent Baker, traduit en Français par Volsung, JC Nau et Matthieu B Les descendants revendiqués The King is Dead de Meguey & Vincent Baker, traduit en Français par Khelren sous le titre : Le roi est mortIn dreaming Avalon de Meguey & Vincent BakerOnce more into the void de Rae NedjadiKissing Capes de Loren PetersonSharehouse de Idle CartularyMiss Bernburg's Finishing School for Young Ladies de Andrea RickPreparing for Paris de Logan TimminsAces in Space: Firebrands de HaraldFor the Honor par VegaOne particular Harbor de Meghan CrossYou can check out any time you like but you can never leave, de MarnTo See with Eyes Unclouded by Hate de WaytooshinySuperstars : Racing Icons de Britt A Willis et Pete Volk traduit en Français par Matthieu BDans la cour de la Princesse de la Lune par TyrannoeilEt au delà, une collection de 47 jeux enflammés par Firebrands Descendance probable Yazeba's Bed And Breakfast de Jay Dragons

Starlit nights and trade wind sailing joined torn sails and boisterous seas on an 18-day Pacific passage for this cruising couple.

Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player.  Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Once upon a time, in a world tucked away between the veils of reality and dreams, there existed a place called the Starlit Slumber. This mystical realm was a tranquil haven where people from all walks of life would visit when they closed their eyes at night. It was a land bathed in the soft glow of starlight, where the most extraordinary dreams and adventures awaited those who ventured there. In the heart of the Starlit Slumber, there lived an enigmatic figure known as the Dreamweaver. The Dreamweaver was an ageless being who possessed the unique ability to craft dreams and lullabies. Each night, the Dreamweaver would embark on a journey across the Starlit Slumber, collecting stardust from the wisps of dreams that floated in the night sky. One particularly enchanting evening, the Dreamweaver set out on a quest to collect stardust for a special dream. It was a dream meant for a weary traveler named Alice, who had been wandering through life feeling lost and disconnected from the world. The Dreamweaver had sensed the longing in Alice's heart and decided to weave a dream that would help her find her way. As the Dreamweaver glided through the night, gathering stardust in a delicate, gossamer net, the creatures of the Starlit Slumber watched with wonder. There were twinkling fireflies that danced around the Dreamweaver, adding their soft glow to the collection. Wise owls perched in the branches of ancient trees whispered their secrets to the Dreamweaver, infusing the dream with wisdom. The gentle murmur of a babbling brook contributed its soothing melody, ensuring that Alice's dream would be filled with peace and tranquility.

-News -Challenges -Item Shop -Tip of the Day Support-A-Creator - mmmikieSupport Daily Fortnite - anchor.fm/daily-fortnite/supportTwitch - www.twitch.tv/mmmikedaddyYouTube - www.youtube.com/channel/UCNEJ4F24Xq8aNQRyI3FWhOgTwitter - https://twitter.com/MMMikieGamesInstagram - instagram.com/mmmikedaddy/Discord Server - discord.gg/qugJAVp Merch - https://shop.spreadshirt.com/mmmikedaddyFacebook - fb.me/mmmikedaddyemail - mmmthatsgoodstuffgaming@gmail.comEpic - MMMikeDaddyPS4 - MagnificantMikieDaily Fortnite - itunes.apple.com/us/podcast/daily-fortnite/id1366304985 The goal of Daily Fortnite is to build a positive community of Fortnite players so we can all enhance our enjoyment of Fortnite together. I want to hear your tips, tricks and stories too! So use the Anchor app to call the show and leave a message and you might be featured on the show! Remember to rate, review, subscribe, and like to help grow the show and the community! And as always, have fun be safe, and Don't Get Lost in the Storm! --- Support this podcast: https://podcasters.spotify.com/pod/show/daily-fortnite/support

Welcome to our soothing, magical podcast designed to bring you and your little ones to the land of dreams. Each episode is a tale of enchantment, featuring unicorn characters that embody kindness, empathy, courage, and wisdom. These aren't just bedtime stories; they are heartfelt journeys into mystical realms, brimming with gentle lessons and calming narratives. Tuck in as you meet Moonbeam in the secret garden, Starlight in the star-studded sky, Rainbow on her quest for colors, and Whisper in the serene forest. Each story is artfully crafted to encourage relaxation and peaceful sleep while fostering imaginative thinking and nurturing emotional growth. The stories are best enjoyed as the day winds down, transforming bedtime into a tranquil, magical experience. Let's turn the page together and step into the whimsical world of "Unicorn Bedtime Stories". Sweet dreams await. Other HEYMRJIM PodcastsKids Animal StoriesSpotify - https://open.spotify.com/show/6EuTSh5JhYNOGbLRlF7q8O?si=afe70dc00fae460d Apple Podcasts - https://podcasts.apple.com/us/podcast/kids-animal-stories/id1557468814 Kids Short StoriesSpotify - https://open.spotify.com/show/695BG5wFULOIoKozKPiWZV Apple Podcasts - https://podcasts.apple.com/us/podcast/kids-short-stories/id1484336413See omnystudio.com/listener for privacy information.

Under the blanket of a moonlit sky, the world transforms into a symphony of serenity.   In this enchanting scene, you find yourself nestled in the embrace of a cozy cabin, where a crackling fireplace casts a warm and gentle glow.   Beyond the cabin's window, a tapestry of nature unfolds.   The towering trees, their leaves rustling in the night breeze. You feel 100% safe and comforted by the nature around you. As if Mother Nature herself is protecting you.   Stars twinkle above, like celestial lanterns casting their gentle light upon the earth.   The sky is a canvas of inky blue and deep purple, adorned with the subtle glimmer of distant constellations.   A soft, cool breeze carries with it the soothing whispers of the night, a gentle caress against your skin.   As the fireplace crackles and pops, its comforting melody blends harmoniously with the distant peaceful chorus of crickets.   It's as if the universe itself is offering a lullaby.   The crackling fire and the gentle cricket chorus create a cocoon of calm, wrapping around you like a warm blanket.   The hypnotic dance of flames invites your gaze to linger, allowing worries to melt away into the embrace of the night.   Each note of the melodic music soothes your senses.   Listening to the delicate interplay of these soothing sounds.   In a world filled with constant stimuli and pressures, the gentle symphony of the fireplace sounds, singing crickets, and relaxing music offers a respite.   For deep sleep, the melodic backdrop eases the mind into a state of restful slumber.   In meditation, the sounds act as anchors, helping you to stay present and centered.   When can you listen to this soundscape ?   If you're struggling to fall asleep due to stress, anxiety or insomnia, you can listen to relaxing nature sounds to sleep faster and deeper and calm your mind.   When you're feeling stressed, anxious and overwhelmed, taking a few moments to listen to relaxing nature sounds can be a powerful way to manage your emotions and regain a sense of calm. It will help to slow your heart rate and breathing, easing tension in your body and allowing you to relax and let go of any worries or stress.   Whether you're practicing meditation, mindfulness, journaling or yoga, relaxing nature sounds can be valuable tools for a better session.   You can also use relaxing sounds of nature as your study music or work music to enhance your focus and help yourself reach a state of flow.   If you're looking to unwind after a long day, or simply want to take some time to relax and recharge, listening to relaxing sounds of nature can be a wonderful way to do so, making it easier to lose yourself in a good book or to simply enjoy the moment.   Finally, relaxing nature sounds can also be a powerful way to add a touch of romance and magic to your everyday life.   In the heart of this nocturnal realm, where firelight dances, crickets sing, and music weaves its melodic tapestry, you find yourself embraced by a moment of pure stillness.   It's a reminder that even in the midst of life's chaos, there exists a sanctuary of peace—a sanctuary you can visit whenever you need to reconnect with the rhythms of nature and the soothing melodies of your own heart.

Please check out our new project on TikTok: Star Trek: New Voyages Emily Care Boss is an independent role-playing game designer/publisher and conservationist living on land of the Wabanaki Dawnland Confederacy, in western Massachusetts of the United States. Emily's designs include Breaking the Ice, Shooting the Moon, and Under my Skin which won the player's choice Otto award at Fastaval in 2009. These games were published in a single volume compendium with additional hacks and mods, as the Romance Trilogy in 2016 and earned a nomination for the Diana Jones Award for Excellence in Gaming in 2017. An early participant at the Forge forums and a proponent of independent publishing, Emily founded JiffyCon in 2006, a regional role playing game convention showcasing independent and small press games. Epidiah Ravichol, in addition to his writing in Dread, is the overeditor of and a contributor to the sword & sorcery ezine Worlds Without Master as well as the creator of other games, like Vast & Starlit, a game of interstellar crime that fits in your wallet; Time & Temp, adventures in history and underemployment; and What is a Roleplaying Game?, the game his mom has used to successfully explain the hobby to his aunt, which in turn may be the proudest moment of his life. Learn more about these and his other projects at Dig a Thousand Holes Publishing. Please check out these relevant links: Black & Green Games Dig 1,000 Holes Welcome to Dice in Mind, a podcast in which we explore the meaning of life through the lens of RPGs!  In each episode, we will consider everyday stuff like science, religion, philosophy, and economics…through the lens of a specific roleplaying game and its dice mechanic. If you like what you hear, consider buying us a cup of coffee or becoming a patron.  You can also join the conversation by following us on Facebook. Music by Kevin McCloud courtesy of Creative Commons by Attribution 3.0 license (https://www.youtube.com/c/kmmusic/featured).

Protecting the artist was the common message throughout my interview with local entrepreneur, Linda Harkcom. Linda shares how she formed Starlit Waters Publishing and what to expect if signing a contract. She talks about the inspiration behind naming her company and how spirit is a guiding force while navigating the ever-changing world of media. Linda also shares some exciting books she is editing now and what to expect from her publishing company in the future!  

MARBLE ME FREE, 7min., USA Directed by Diane Leslie Kaufman How do we cope and what do we do when physical and emotional pain, obstacles, and hardship block our way forward? This “dark night of the soul” journey is powerfully depicted in the “Marble Me Free” animated film. https://www.marblemefree.com/ Conversation with: director Diane Leslie Kaufman. poet/writer Starlit Swan. Animator Lucia Martinez Rojas From Diane Leslie Kaufman: When Starlit Swann read me her poem, “The Marble Block,” I immediately knew I had to make this film to help all those in physical pain and/or emotional pain. I've attached an essay by Starlit (birthname is Cristina, but she prefers the name Startlit) which describes the amazing story of how we met, her life journey with Complex Regional Pain Syndrome, and how “Marble Me Free” came to be. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

In this episode, we're joined by @StarlitDeath, who is a probation officer by day, and DOOM Girl and competitive shooter by night. We discuss whether policing is broken, or if the system ever "worked" in the first place, and if something of that magnitude can actually be fixed from the inside. How do you teach your kids about cops? Is there such thing as a "good" stranger or should we be teaching our kids to plead the 5th? We talk about how and why some guilty cops walk free, dive into the dark web and whether it was John Harvey Kellogg or his brother who gave yogurt enemas. Star tells us whether or not she feels that she is doing good in her community, and whether or not she's ever had to compromise her morals for her job.

You are a mecha pilot. You have piloted your humanoid machine across the surface of the earth, through the void of space, and among the shattered hulls of space colonies. You have fought a war that has seen cities consumed by fire, fleets of ships struck down by energy weapons, and mecha immolated by their own stricken reactors. You have survived all the way to today, the last battle of the war, waged in the void. Now, your survival is more uncertain than it has ever been. The visual cacophony of both sides tearing into one another has faded, replaced by the silence of wrecked machines, an open grave of floating bodies, and the last gutters of fire as atmosphere and fuel are consumed from broken ships. Your mecha is laid low, its diagnostic screen awash in the black and red of dead and dying systems as you drift among the debris.  All you have is a dying mecha, an open communications channel, and your thoughts and memories - and the vague hope that someone will find you Lost Among The Starlit Wreckage before it's too late. Thoughts: A great game that has similar vibes to Dead Belt. You can find Lost Among the Starlit Wreckage at https://seamus-conneely.itch.io/lost-among-the-starlit-wreckage Quick Links: 03:01 - Rules 14:51 - Gameplay 43:22 - Thoughts BDDC logo by https://www.instagram.com/craftyteapotfox/ (https://www.instagram.com/craftyteapotfox/) You can find us on Twitter @bddc_pod You can support us on Patreon https://patreon.com/blackdragondungeoncompany for early releases and exclusive content. This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy Chartable - https://chartable.com/privacy

It's Sad Mecha Times as Seamus joins me to run his game LOST AMONG THE STARLIT WRECKAGE. Get it today on DriveThruRPG or itch.io!

The Man Called X crashes a plane in the Middle East and meets a mysterious young girl who's decided she no longer wants to live in the world.Original Air Date: December 23, 1950Bonus Episode from Christmas on the Blue:The emergency council has failed in their quest to locate Santa Claus. So they call in the Man Called X who wants to be called Y since he's undercover.Original Air Date: December 15, 1945Support the show monthly at patreon.greatdetectives.netSupport the show on a one-time basis at http://support.greatdetectives.net.‘Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey…http://survey.greatdetectives.netGive us a call 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesBecome one of our friends on Facebook.Follow us on Twitter@radiodetectives