Podcasts about tangiers

In the ever-evolving landscape of rock music, where authenticity often takes a backseat to fleeting trends, Elephants and Stars emerge as a beacon of genuine artistry. Hailing from Canada's Golden Horseshoe region, with roots deeply embedded in both Hamilton and Toronto, this quartet crafts music not out of obligation, but from an intrinsic need to express, connect, and resonate.​ The Genesis of Elephants and Stars At the heart of Elephants and Stars lies the enduring partnership between singer-guitarist Manfred Sittmann and bassist Mike MacMillan. Their musical journey began in the early 2000s with the formation of Soap Opera, a band that quickly garnered attention and secured a deal with Bullseye Records, leading to the release of two albums: Poised and Welcome to the Tangiers. Not content to rest on their laurels, the duo ventured into new sonic territories with The First Time. Their 2004 debut, It's On, produced by the esteemed Warne Livesey (known for his work with Midnight Oil and Matthew Good), was a faster, heavier evolution of their previous pop-punk sound. The album's acclaim was underscored when it clinched the Best Punk Record at the 2005 Toronto Independent Music Awards, with singles like "Goodbye Harlowe" and "New Day Dawning" receiving widespread radio play and television licensing.​ A Sound That Resonates Elephants and Stars are not just another band in the crowded rock scene. Their music is a testament to maturity, experience, and a profound understanding of the genre's roots. Eschewing the typical grind of endless touring for minimal returns, they focus on delivering performances that matter—sharing stages with luminaries like Television's Richard Lloyd, Against Me!'s Laura Jane Grace, and indie legends Lowest of the Low. Such collaborations not only elevate their profile but also place them in front of audiences that appreciate depth, nuance, and authenticity in music. 'Under The Earth And Above Heaven' February 2025 marked a significant milestone for Elephants and Stars with the release of their album, Under The Earth And Above Heaven. Produced by the legendary Ian Blurton, the album is a masterclass in blending high-energy rock with heartfelt lyricism and anthemic melodies. The lead singles, "The Ceiling" and "Strangers on a Train," have already captivated listeners, showcasing the band's knack for big hooks and guitar-driven energy. Blurton's production amplifies the band's dynamic range, resulting in what many critics hail as their most powerful release to date.​ The album's title carries a unique backstory. After sharing a stage with Richard Lloyd of Television, Sittmann was inspired by Lloyd's autobiography. "We got the title from the Richard Lloyd (Television) autobiography after we played a show with him last year," Sittmann recalls. "When I told him we were thinking of using the title, he thought it was a great name—and that was pretty much that." ​ Critical Acclaim and Audience Reception The release of Under The Earth And Above Heaven has been met with widespread acclaim. Cashbox Canada highlighted the album's fusion of high-energy rock and heartfelt lyricism, noting that it marks an exciting evolution for the band. Similarly, Dropout Entertainment praised the album as a bold new chapter, emphasizing its anthemic melodies and raw, heartfelt lyricism. ​ A Commitment to Authenticity What sets Elephants and Stars apart is their unwavering commitment to authenticity. They eschew the trappings of the modern music industry, choosing instead to focus on crafting songs that resonate on a deeper level. Their approach is evident in their recording process, opting for old-school studios and seasoned producers like Ian Blurton to capture the raw essence of their sound. This dedication ensures that each track is not just heard but felt, leaving an indelible mark on the listener Looking Ahead With Under The Earth And Above Heaven now available on all major streaming platforms,

Nick Ippolito, Player Development Mentor AKA "The Host Whisperer," has returned from the Philippines' Solaire Resorts with some incredible insights on this international casino's operation and their exceeding example in customer service. Ippolito digs into the delicate balance of player development sales tactics, the world of VIP casino salons, and the differences of casino operations in the Philippines with URComped CEO, Craig Shacklett. From navigating the sales approaches across different cultures to managing elite customer experiences, we uncover the key strategies behind high-level casino hospitality and more in this 'Cocktails at the Tangiers' episode. Topics Discussed: - Philippines casinos - Private VIP salons in casinos - Aggressive approach in different cultures - Customer service teams - Salon operations with junkets - Communication in sales - Tactics and service - Celebrating customer service - Ippolito's Japan experience Learn more: https://trio360.vip/takeaways-from-the-philippines-casinos-cocktails-at-the-tangiers-nick-ippolito-interview/

Today's Mystery: Matt takes an assignment from two fantastic characters in Morocco to hunt a fantastic treasure.Original Radio Broadcast Date: November 8, 1964Originating in HollywoodStarring: William Wintersole as Mathew SladeAired as Starlight Mystery Theater. Also known as Matthew Slade, Private Investigator.Support the show monthly at https://patreon.greatdetectives.netPatreon Supporter of the Day: Doc, Patreon supporter since February 2016Support 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 at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectivesJoin us again tomorrow for another detective drama from the Golden Age of Radio.

Really, 007! are sent back to the end of the Cold War for Timothy Dalton's debut as James Bond - The Living Daylights...Bond must stop a deadly game of espionage with 00 agents being murdered, taking him from Bratislava to Vienna, Morocco and Afghanistan...Host Tom Pickup is joined by fellow Bond enthusiasts John Kell, Math and Harry Pickup, Rob Parker and Chris Goldie. Thanks for listening!In part 8 Bond and Pushkin arrange his fake assassination in Tangiers ...Disclaimer: Really, 007! is an unofficial entity and is not affiliated with EON Productions, Metro-Goldwyn-Mayer Studios Inc. and Danjaq, LLC. Hosted on Acast. See acast.com/privacy for more information.

Relic Radio Thrillers features a story from Top Secret this week. From June 26, 1950, here's The Package In Tangiers. Listen to more from Top Secret https://traffic.libsyn.com/forcedn/e55e1c7a-e213-4a20-8701-21862bdf1f8a/Thriller876.mp3 Download Thriller876 | Subscribe | Spotify | Support Relic Radio Thrillers

How long do you have with a customer to grab their attention and make an impact? Nick Ippolito, Player Development Mentor AKA "The Host Whisperer," explains to URComped CEO, Craig Shacklett, how to make the most of your relationship with a customer. This topic alongside telemarketing in the casino industry, transparency, negotiating, and much more is discussed in today's Cocktails at the Tangiers. Watch full video and learn more: https://trio360.vip/transparency-with-customers-cocktails-at-the-tangiers-nick-ippolito-interview-video/ Topics Discussed: Telemarketing in the casino industry How long do you have to make an impact with your customer? Transparency with your customers Giving advice while also being respectful Negotiating to find a middle ground

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 just lovely! I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an instagram page and youtube channel both called brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers #goldenageofradio sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia   Rocky Jordan was a radio series about an American restaurateur in Cairo who each week became involved in some kind of mystery or adventure. The show was broadcast on CBS from October 31, 1948, to September 10, 1950, and then again from June 27, 1951, to August 22, 1951. The character of Rocky Jordan had been introduced to listeners in a similar show called A Man Named Jordan that was broadcast from 1945 to 1947 on the CBS West Coast network, but set in Istanbul, rather than Cairo. In February 1951, it was announced CBS was in discussions to make a TV series based on the show starring George Raft made by Raft's company. However this never happened. Cast The two lead roles were those of Rocky Jordan and Captain Sam Sabaaya of the Cairo Police. For most of the show's history Jordan was played by veteran radio actor Jack Moyles, but he was later replaced by a movie star, George Raft, for the brief 1951 run. Jay Novello played Sabaaya throughout the entire series. Other roles were played by members of Hollywood's Radio Row, and the announcer was Larry Thor. Characters Rocky Jordan Rocky Jordan (Jack Moyles/George Raft) is the proprietor of the Café Tambourine, which is located, according to the announcer, "not far from the Mosque Sultan Hassan," though he is originally from St. Louis. During the course of the series, it is revealed that Rocky previously ran a Café Tambourine not only in Istanbul (known from the previous series, "A Man Named Jordan") but also in San Francisco[6] and other locales. As an American restaurateur in a North African country, Jordan is somewhat similar to the Rick Blaine character in the film Casablanca, though the Café Tambourine is apparently a much less salubrious venue than Rick's Bar. The announcer describes it as being "Crowded with forgotten men, and alive with the babble of many languages". Each episode sees Jordan confronted with a "crime, a mystery, a beautiful woman, or a combination of the three". Precisely why Jordan is now in Egypt rather than Istanbul (as in the previous series) is never mentioned and the reason for being unable to return home to the United States is deliberately left vague, though it is hinted at throughout the course of the series that some occurrence in St. Louis prevents him from doing so. Sam Sabaaya Sam Sabaaya (Jay Novello) is the police captain who apprehends the criminals at the end of each adventure. Sabaaya is portrayed as a diligent and competent policeman, usually as Jordan's friend and ally but sometimes as his foil. He is an Egyptian Muslim, is married, and has four children. Other characters Two further characters appear in some but not all episodes, Chris (voiced in most episodes by Lawrence Dobkin) and Sergeant Greco (Lou Krugman). Chris is the bartender at the Café Tambourine, while Greco is one of Sabaaya's underlings. Greco has a particular dislike of Jordan, and invariably tries to make his life difficult, often by arresting him as the chief suspect in whatever crime Jordan is trying to solve. He's also ambitious and eager for promotion. Style A deliberately Eastern feel was created by careful use of music and sound effects, and the writers Larry Roman and Gomer Cool took care that the characters used the names of real streets in Cairo. Much of the information the writers used for this came from a book called the Pocket Guide to Egypt that the US Army had produced for servicemen sent there during the War. The Oriental-sounding music composed for the show by Richard Aurandt is considered to be of exceptional quality.   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

2 hours of Crime First a look at the events of the dayThen The Lives of Harry Lime starring Orson Welles, originally broadcast August 24, 1951, 73 years ago, A Ticket to Tangiers. Down on his luck in Paris, Harry finds an opportunity in Morocco from a classified ad in a newspaper. We follow that with The FBI in Peace And War, originally broadcast August 24, 1955, 69 years ago, Double Play.   A con-game by a gang is led by a crook who looks exactly like a major league baseball star. Then Crime and Peter Chambers starring Dane Clark, originally broadcast August 24, 1954, 70 years ago, Winston Carr. The wealthy Winston Carr (a Sydney Greenstreet clone) hires Chambers to deliver an envelope. This task is valued at $200, and is worth every cent, as the recipient of the letter has been murdered!Next the CBS Radio Workshop, originally broadcast August 24, 1956, 68 years ago, The Billion Dollar Failure of Figger Fallup. A tale about the day the devil hired a pollster to find out how many folks would be entrusted to his care in the next twenty years. Finally, Claudia, originally broadcast August 24, 1948, 76 years ago.  Claudia at the ballgame. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day. 

Following a controversial comment about removing freeplay, Nick Ippolito, Player Development Mentor AKA “The Host Whisperer,” explains his reasoning to URComped CEO, Craig Shacklett. Not only is Freeplay on the burner, but Nick also questions other PD systems, comps, host actions and more! Topics Discussed: Eliminate comp buckets and points When should casinos use freeplay What could replace Freeplay The Comp Transaction Watch interview: https://youtu.be/mfAETaFQIj8

Episode Summary:In this episode, we dive into Vastim East's journey detailed in his book "Awakened by the Ants," focusing on the symbolic struggles depicted in chapter three, "The Bull and the Cobra." Discover how confronting personal fears and embracing unexpected challenges can lead to profound growth and transformation. Bottom of Form Follow Antonio Here:https://www.facebook.com/theatsjrhttps://www.amazon.com/stores/Antonio-T.-Smith-Jr/author/B00M3MPVJ8https://www.linkedin.com/in/antoniotsmithjrhttps://antoniotsmithjr.comhttps://www.instagram.com/theatsjrIntroductionDate and Event: May 28, 2020 - Marketing Training Call - ATS Business UniversityInstructor: Presenting insights from the book "Awakened by the Ants" by Vastim EastTopic: Discussion on chapter three, "The Bull and the Cobra," and its implicationsKey Themes from "Awakened by the Ants"1.    Invitation to Tanzania:Unexpected invitation linked to previous work, "My Sight Man," a children's bookTravel experience with a dental group despite no dentistry backgroundPersonal doubts and eventual acceptance of the invitation2.    Experiences in Africa:Previous four trips to Africa purely for learning and enjoymentThis particular trip provided a profound learning experience3.    Transition from Fiction to Non-Fiction:Inspired by ATS members and personal experiencesTransformation of fiction elements into meaningful non-fiction narrativesInfluence of members like Law and Steve Sebo4.    Facing Doubts and Fears:Chapter two discusses "Drowning in Doubt"Importance of overcoming inner voices that discourage taking opportunitiesPersonal struggles and doubts about the trip to Tanzania5.    Symbolism of the Bull and the Cobra:Initial experiences in Spain, including witnessing a bullfightSymbolic struggle and beauty of the bullfight as a metaphor for life's challengesEncounter with cobra charmers in Tangiers and overcoming fear of snakesThe cobra incident as a significant and transformative experienceInsights from the Bull and the Cobra Chapter1.    Bullfight in Spain:Observations on the ritualistic nature of bullfightingReflection on the struggle between the bull and the matador as a metaphor for personal battlesLearning from the victory and defeat witnessed in the bullfight2.    Cobra Experience in Tangiers:Personal fear of snakes and the unexpected encounter with a cobraSymbolism of facing fears head-on and emerging strongerConnection between the cobra experience and the journey to TanzaniaLessons and Takeaways1.    Embracing Challenges:Importance of confronting and embracing personal challengesSymbolism of the bull and the cobra in overcoming life's obstaclesStrength gained from facing and overcoming fears2.    Inspirational Messages:Encouragement to accept opportunities despite doubtsTurning personal experiences into inspirational stories for othersEmphasis on the continuous journey of self-discovery and growthQuestions and Audience Interaction1.    Questions from the Audience:Inquiries about the experiences with the cobra and subsequent challengesDiscussions on the emotional and psychological impact of these encounters2.    Audience Reflections:Personal stories and reflections inspired by the chapterShared experiences related to nature and overcoming fearsPractical Applications and Personal Growth1.    Nature as a Teacher:Learning from nature and its creatures, such as lions and horsesReflections on how animals live in the moment and focus on immediate goalsInsights on the interconnectedness of life and nature2.    Personal Development:Emphasizing the importance of understanding and embracing one's journeyEncouragement to view life's challenges as opportunities for growthBuilding resilience through facing and overcoming personal fearsFinal Thoughts1.    Encouragement and Inspiration:Motivating the audience to pursue their dreams despite obstaclesUsing personal stories and experiences to inspire othersEmphasizing the importance of faith and inner strength in overcoming challenges2.    Continuous Learning:The journey of self-discovery and learning is ongoingImportance of sharing experiences to help and inspire othersSupport this podcast at — https://redcircle.com/the-secret-to-success/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

2+ Hours of CrimeFirst a look at this day in History.Then The Whistler, originally broadcast June 25, 1950, 74 years ago, Manhunt. A man leading a dual life kills a blackmailer, and then is forced to resume his dual identities once again. Followed by the news from 74 years ago, then Jeff Regan Investigator starring Frank Graham and Frank Nelson, originally broadcast June 25, 1950, 74 years ago, No Sad Clowns For Me.  “When a little old man named Crackly comes in, don't take his case." Mr. Crackly wants to find a man named Bliss. A circus story. Then Top Secret starring Ilona Massey, originally broadcast June 25, 1950, 74 years ago, A Package In Tangiers.   The Baroness risks her position as the personal maid to Frau Goring to travel to The Bazaar Of The Singing Fountain to find the twelve-year-old boy with the gray hair! The summer replacement for The American Album Of Familiar Music.Followed by Suspense, originally broadcast June 25, 1961, 63 years ago, Call Me at Half Past starring Elsbeth Eric and Bernard Grant.  A man is trapped in a hotel room by his insane wife, who is determined to kill him. Finally Superman, originally broadcast June 25, 1941, 83 years ago, The White Plague. Clark Kent and Jimmy Olsen learn about the "White Plague" Gaston is found frozen to death!.Thanks to Robert for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day. 

Back in high demand, Nick Ippolito Player Development Mentor AKA "The Host Whisperer," discusses with URComped CEO, Craig Shacklett, how to build a casino player development program from the ground up. Stemming from a YouTube comment, this interview tackles important data metrics to consider when building a PD program, using that data to structure PD, and more! Topics Discussed:  Using results versus testimonials Importance of Data How do you start a Player Development Program PD data versus Marketing Data Utilizing data to determine growth areas How to structure Player Development What PD leaders should know Needs of Player Development Softwares Understanding Marketing channels Map out the Critical Path Learn more: https://trio360.vip/how-to-build-a-casino-player-development-program-cocktails-at-the-tangiers-nick-ippolito-interview/

Two wonderful books on this episode. First up we hear from Elizabeth O' Connor about her incredible debut novel Whalefall. Set on a remote island off the coast of Wales in the run up to World War Two it is a story that maps the tension between home and the hope that exists in a young heart for a life of their own. We loved this book, the island is as wild & windswept as you'd want and the themes of imposition and the violence of 'progress' felt so timely. Do look it out, it's brilliant.Kevin Barry needs little introduction. Booker long-listed author of Irish number 1 best seller Night Boat to Tangiers, The Heart in Winter is his fourth novel and is as much fun as you'd expect. Set in 1891, Butte Montana it follows the thunderbolt love affair of Tom Rourke and Polly Gillespie. If stolen horses, psychedelics, badlands, and a posse of deranged Cornish gunmen are your thing (and they are ours) then you're going to love this.Whalefall is published by Picador and is available nowThe Heart in Winter is published by Canongate on June 6thHuge thanks to Huw Marc Bennett, Ian Hawgood & Nathan Salzburg for their use of their incredible music. Why not subscribe to and support  Field -  @ www.patreon.com/fieldzine@fieldzine /www.fieldzine.com

In this recent interview, Nick Ippolito, Player Development Mentor AKA "The Host Whisperer," discusses with URComped CEO, Craig Shacklett, how player development has been giving table players the short end of the stick. They dive into how tiers and marketing have always been built around slot players, and what are the next steps to improve the casinos' relationship with their table games players. Topics Discussed:  Tier programs revolve around slots Player Development abandonment of table games players The gray area of table games points Issues with tracking play on table games Freeplay for table games Ratings Areas to improve the relationship with table games players Learn more: https://trio360.vip/casino-marketing-abandoning-table-game-players-cocktails-at-the-tangiers-nick-ippolito-interview-video/

Tom Bobbajobski's tales from his time in the Merchant Navy aboard the HMS Crumpet. Journeys of adventure the likes of which you've never heard before, nor are likely to again. Episode 5-ConstantipnopleWhere Tom's is in pursuit of his clothes on a camel named Rhonda."Greetings landlubbers, it's Tom Bobbajobski here, regaling you with tales from my time in the Merchant Navy aboard the shabby HMS Crumpet, transporting dubious and inferior cargo acros the globe.  Yes! Before I ended up broadcasting to the world on Huron City Radio, I did, actually, see that world.And you know...how did I ended end up with a range of homemade underwear... in markets and bazars from Taipei to Tangiers?  Well...it was back in eighty six, if I recall correctly..."Graphic by Anson PavlovVoice of Tom Bobbajobski

Random Vegas The office of Sam “Ace” Rothstein and the Tangiers sports book in Martin Scorsese's Casino was filmed on the site of an unopened casino at the Jockey Club (Vintagelasvegas.com) Vegas Pic of the week This is a photo I didn't even know existed and it blew my mind when I found it, like I'm sure it's going to blow yours.  It's a picture of the Dunes, mid-evolution from a motel to a high rise.  I found it at vintagelasvegas.com.  Here we still see all the original façade with the Diamond of the Dunes behind it under construction.  It wouldn't be much longer before the sultan was relocated to the golf course, just off the freeway.  That is until he caught fire due to an electrical short or something, I can't remember.  I'm just psyched that this picture exits and I can share it with all of you.  Also, it's not lost on me that this picture isn't breathtaking it's just a moment in time I'm grateful we have. News Downtown Beer Festival A's partnering with Neon Museum Hollywood 2.0 Flat Rate Cabs Bally's Corp Privatization

Após um tempo parado, está no ar mais uma edição de Para ver e ouvir na POCILGA, dessa vez apenas em formato podcast. Nesse episódio de retorno temos uma edição especial. Ao invés de escolher um filme e cinco músicas dele, decidi comentar sobre as 5 músicas indicadas na categoria melhor canção original do Oscar 2024. Como "faixa bônus", vou comentar também sobre as 5 trilhas sonoras indicadas. E obviamente vamos ouvir as 5 indicadas e 5 faixas, uma de cada um dos filmes indicados a trilha sonora original. Músicas do episódio: THE FIRE INSIDE do filme Flamin' Hot - O Sabor que Mudou a História WAHZHAZHE (A SONG FOR MY PEOPLE) do filme Assassinos da Lua das Flores IT NEVER WENT AWAY do filme American Symphony I'M JUST KEN do filme Barbie Trilhas sonoras: Ficção Americana - Laura Karpman (faixa "Family Is, Monk Is") Indiana Jones e a Relíquia do Destino - John Williams (faixa: "Tuk Tuk in Tangiers") Assassinos da Lua das Flores - Robbie Robertson (faixa "Osage Oil Boom") Oppenheimer - Ludwig Göransson (faixa "Can You Hear the Music") Pobres Criaturas - Jerskin Fendrix (faixa "Bella") --- Send in a voice message: https://podcasters.spotify.com/pod/show/varacast/message

In this recent interview, Nick Ippolito, Player Development Mentor AKA “The Host Whisperer,” discusses with Trio360 and URComped CEO, Craig Shacklett, how he transforms the culture of player development (“PD”) in casinos by analyzing the current structure, finding areas of value to grow, and determining activities to cut off. Topics Discussed: – Nick Ippolitos' 60-90 day training – Other departments learning PD – Player Development targeting strategies – What needs to change in PD Watch the interview here: https://trio360.vip/renovating-player-development-cocktails-at-the-tangiers-nick-ippolito-interview-video/

In this week's episode, I take a look at the movies and TV shows I watched and enjoyed in winter 2023. TRANSCRIPT 00:00:00 Introduction and Brief Writing Updates Hello, everyone. Welcome to Episode 181 of The Pulp Writer Show. My name is Jonathan Moeller. Today is December, the 22nd, 2023 and today we're going to talk about the movies I saw in Winter 2023. Careful listeners might notice that I am recording this on December 22nd, which is actually only a day after I recorded Episode 180, which I recorded yesterday. The reason for that is it is the last Friday before Christmas and New Year's today, and I think I'm going to take most of the days between now and New Year's off and spend time with family and hopefully do other fun things. So this episode I was just recording a couple episodes in advance and I believe this episode is going to go out on January 1st, 2024. So if you're listening to this, I hope you have a Happy New Year and however things went for you in 2023, whether good or bad, I hope they are better in 2024. Just a quick update on my current writing projects, since I am recording this episode the day after I recorded Episode 180, not much has changed. I am 40,000 words into Shield of Storms and I hope to have that out in January, which would be later this month (if you are listening to this in January). I am 51,000 words into Sevenfold Sword Online: Leveling and I'm hoping to have that in February. I am 4,000 words into Half-Elven Thief and I'm not sure when that's going to come out. One additional bit of news since yesterday, it looks very likely we will have an audiobook of Sevenfold Sword Online: Creation sometime in January, if everything goes well. So watch and listen for additional news on that. Since I don't really have any other news since I recorded last week's episode yesterday, let's get into our main topic, which is the movies and TV shows I watched in Winter 2023.   00:01:54 Main Topic: Winter 2023 Movie and TV Reviews As always, I will discuss them in the order that I like them from least liked to most liked and as always remember my opinions about this are subjective. I am not a filmmaker. My opinions are often very, very idiosyncratic and just what I happen to think of a particular piece of work. First up is The Crown Season 6, which came out in 2023. The performances were superb, the actors were excellent, the set design and cinematography was excellent. Everyone involved in the show was at the top of their field and did an amazing job. And I still just didn't like this because it felt a bit ghoulish. For one thing, as The Crown has gone on, it's become less historical and more of a messy soap opera with an increasingly casual relationship with what really happened in the events it describes. For another thing, as I mentioned, I found the show's fixation on Princess Diana's death to be rather ghoulish. I am old enough to remember her death in 1997, and even then when I was much younger and stupider, I thought the American media's obsession with her death was weird and disturbing, especially since the media fixation on her was the direct contributing cause to her death. If the media hadn't been willing to pay vast sums for photographs of her, the paparazzi wouldn't have chased her and history would be different. A while back I knew a history professor who said that history only starts between 20 to 30 years ago and anything that happened within the last 20 to 30 years wasn't history yet, it was still journalism. I think that is part of what bothers me about Season Six of The Crown. Most of the people involved in the story are still alive. Writing historical fiction about people who have died, who have died is one thing, especially if they've been dead for centuries or even millennia. Only God may judge of the dead, so what those of us among the living think about them is quite irrelevant. But making up fiction about people who are still alive, even if they are major public figures who have unquestionably made some bad decisions, somehow seems libelous, especially since there have been so many articles in both the UK and the US press detailing all the things that Season Six of The Crown got wrong with the historical record. So to sum up, the show is extremely well done, but I cannot help but feel that it's like excellent work done in a bad cause. Overall Grade: D. Next up is Shazam: Fury of the Gods, which came out in 2023. The first Shazam movie was actually pretty good, definitely in B or B Plus territory. The sequel, alas, was quite a bit weaker. It reminded me of watching a really cheesy sword and sorcery movie from the 1980s: fun to watch mostly, but quite dumb. Following up from the first movie, Billy Batson and his foster siblings are now part of the Shazam superhero family and are handling their powers about as well as you would expect inexperienced teenagers to handle phenomenal cosmic powers, except it turns out that the wizard who gave Billy and his family their powers actually stole those powers from the Greek Titan Atlas and Atlas's daughters are ticked off about this and want those powers back. Since this is a superhero movie, let's just say they're not going to settle this dispute in probate court. The product placement for the Skittles candy in this movie was just over the top. In fact, an entire major plot point hinges on a teenage girl's love of Skittles. One hopes that Mars Incorporated, owner of the Skittles brand, really coughed up for that. Helen Mirren chews a lot of scenery as the chief daughter of Atlas, though she does have a very funny bit with a dictated letter. This isn't her first time in an over-the-top fantasy movie. She played Morgana in Excalibur back in the 80s, though her costume this time covers quite a bit more than Morgana's various outfits did. The movie also leans way too heavily into the rest of the DC movie universe. I'd say it's enjoyable to shut off your brain and watch all the sparkly fireworks and the scenery chewing, but it's not very good. Overall Grade: D+. Next up is Clue, which came out in 1985. Big swing and a miss, but definitely a miss nonetheless. I tried to watch this about ten years ago, but the version I watched then didn't have any captions and all the characters talked too fast for me to understand. But I have a much better TV than I did ten years ago and the caption situation has improved, so I gave it another go. This is a dark comedy version of the popular board game Clue. All the classic Clue characters, Colonel Mustard, Professor Plum, and so forth are summoned to Mr. Boddy's mansion during a dark and stormy night. Mr. Boddy gloats says he has been blackmailing all of them, distributes the classic Clue weapons of the pipe, the knife, the wrench and so forth, and then promptly turns off the lights. When the lights come back on. Mr. Boddy has been murdered. Mr. Boddy, to be blunt about it, doesn't seem to have been all that bright a bulb. Anyway, madcap hijinks ensue as the guests try to figure out who the killer was. Three alternate endings are included with the movie, which have a different killer in each one. There were some very funny bits in the movie, but overall it really didn't work and it had some oddly heavy-handed commentary about the Red Scare. Tim Curry was pretty great in it though. Fun fact: he did an excellent turn as Darth Sidious in what was then the final episodes of The Clone Wars animated series, and he also played Arl Howe, one of the chief villains in Dragon Age: Origins, which was one of the last video games I had time to play through all the way before I spent the next fourteen years writing like 147 novels. A remake of Clue has been in production hell for like the last ten years. You just know that Hasbro wants to include Clue in their cinematic universe where Colonel Mustard and Miss Scarlett team up with Optimus Prime and GI Joe to fight Megatron and the Monopoly guy or something. Overall grade: C Minus. Next up is Murder Mystery, which came out in 2019. This was unquestionably a dumb movie, but it was a fun, dumb movie. Like it's a C Minus student, but it's a sort of C Minus student who everyone likes, throws great parties, and goes on to have a very successful career as a regional sales manager. Adam Sandler and Jennifer Aniston play Nick Spitz and Audrey Spitz, a New York City cop and a hairdresser. Nick has failed the detective exam multiple times and has gotten stuck in a rut, and Audrey really wants to go to Europe so Nick takes her to Europe and they promptly blunder into a ‘40s screwball style comedy about the murder of a wealthy European oligarch and his squabbling heirs. A lot of the comedy comes from the good-natured, but boorish Spitzes contrasted with the sophisticated, wealthy Europeans who promptly decided that Nick and Audrey would make the perfect scapegoats to take the fall for the oligarch's murder. Wacky hijinks follow. I do have to respect how Adam Sandler uses his movie productions as an excuse to travel to exotic locations with his friends. Overall grade: C Minus. Next up is the sequel to Murder Mystery, the aptly named Murder Mystery 2, which came out in 2023. It's the sequel to the first Murder Mystery and pretty much everything I said about the first one still applies-dumb, but fun. Overall grade: C Minus. Next up is Indiana Jones and The Dial of Destiny from 2023 and ah, I was very ambivalent about this movie. To be fair, it was better than Kingdom of the Crystal Skull. It had some stuff that was really good and some stuff that just annoyed me. The opening sequence with the train during World War II was great- classic Indiana Jones stuff. The Nazis try to time travel to change World War II is a well-established trope of science fiction, but the twist this time is the villain thinks he understands how the time travel device works, but it turns out that he actually doesn't was pretty good. The car chases were excellent as well, both in New York and Tangiers. That said, the legacy protagonist now is an old loser getting lectured by a more competent younger woman story trope was in full force, and it's a really annoying story trope. Disney seems to just adore the story trope: the Star Wars sequels, Secret Invasion, and now Dial of Destiny, and I suspect a majority of audiences agree with me and don't like it, which is probably one of the significant reasons the Disney Corporation lost a metric gigaton of money this year. Top Gun Maverick was a much better example of bringing back a legacy protagonist. Indy also has this oddly out of character speech where he says he doesn't believe in magic, which is rich considering he has literally seen The Ark of the Covenant melt Nazis, the power of The Holy Grail turn another Nazi to dust, and space aliens. So I would say that Indiana Jones and The Dial of Destiny was half a good movie and half a weak one. Overall grade: B Minus. Next up is the Barbie movie, which came out in 2023. I saw Oppenheimer in the theater in August after I finished working on Dragonskull: Crown of the Gods and a couple months ago I did finally get around to seeing Barbie. Greta Gerwig is clearly a genius because she figured out how to take the existential anxiety of the modern American woman and convert it into $1.44 billion at the box office. If we could work out how to apply the same principles to generating electricity, we would have limitless clean energy, flying cars, and World Peace. Though I suppose the phrase modern American woman really is a facile generalization. Anyway, I really wasn't in the target demographic for this movie. That said, it is quite funny. It's a fantasy comedy that's a bit surrealistic in places. The set design is superb and done with very little computer effects. Apparently so much pink paint was used that it actually caused a nationwide shortage. As many reviews said, Ryan Gosling almost stole the movie as Ken, which was amusing on a meta level because he's played so many grim action heroes. In the third act, the movie really does beat the viewer over the head with the message. But what else can you expect from a Barbie movie in 2023? The funniest line was “How can she call me a fascist? I don't control the railways or the flow of commerce.” The joke about Proust Barbie not selling was pretty funny as well. Maybe if the Barbienheimer meme continues, in the sequel, Proust Barbie can fall in love with Oppenheimer Ken, and they have grim conversations about existentialism and science. Overall grade: B Plus. Next up is Muppet Treasure Island, which came out in 1996. This is a loose-ish adaptation of the classic novel Treasure Island by Robert Louis Stevenson, with many Muppets filling the roles of the characters from the book and Tim Curry playing Long John Silver. Like in the book, young Jim Hawkins acquires a treasure map leading to the buried treasure of a ruthless pirate captain and sets out on an adventure to find it. However, many of the dead captain's former associates likewise want the treasure, so Hawkins and his allies must outwit their foes. This wasn't quite as good as Muppet Christmas Carol, but still quite enjoyable and funny. Overall Grade: A Minus. Now for the runner up of the best thing I saw in winter 2023 and that will be Loki Seasons One and Two, which came out in 2021 and 2023. I liked the first season of Loki, which came out back in 2021, but it was very obviously the first half of the story so I didn't write anything about it. However, I've seen the second season and the completed Loki show is very good. As I've written before, I don't really like multiverse or time travel stories because the stakes are either too vast or utterly meaningless. Time travel stories are a lot like homemade lasagna: if it's not excellent and not prepared by someone who knows exactly what they're doing, you're going to regret eating it. However, Loki leads hard enough into the concept, and the stakes that the show actually works. Like, I think the key question that every time travel story needs to answer at some point is why the time traveler doesn't just go back in time over and over again until she he or she fixes the problem, like remoting a saved game until you finally figure out how to beat the final boss. If you can time loop indefinitely, why not do it infinitely until you get the perfect outcome? Loki actually comes up with good answer to that question that isn't “because the plot requires it.” Anyway, the show starts with the version of Loki who escaped with Tesseract from Avengers Endgame getting captured by the Time Variance Authority. The TVA is basically the time cops. They guard the flow of The Sacred Timeline and prevent any alternative timelines and realities branching off from the main one. The events that make it out of The Sacred Timeline are determined by the Timekeepers, three mysterious figures who rule the TVA from the shadows. Loki manages to ingratiate himself to his captors, soon realizes that the TVA isn't all what it appears or claims to be, and discovers that big trouble is coming. The show had some good character development for Loki and managed to wrestle with what is in fact some profound philosophical questions. Is there a choice between determinism and free will? Must we choose between either brutal tyrannical order or destructive chaos, or is there another way? On a more prosaic level, some reviews said that the finale of Loki bound Marvel to using Kang The Conqueror as their next major villain, which would be a potential problem due to the actor's ongoing self-inflicted legal troubles. That said, I don't think that assessment is correct. In my opinion, the ending resolves the story while leaving things wide open for whatever Marvel wants to do (or can afford to do, given Disney's financial woes) next. Overall, Loki was the best non-Spiderman thing Marvel has done since Endgame. It also achieved one of the rarest feats of all in superhero movies: an emotionally satisfying ending to both the story and a long character arc. Overall Grade: A. Finally, the best thing I saw in Winter 2023 was The Shop Around the Corner, which came out in 1940. It is a romantic comedy starring Jimmy Stewart as Mr. Kravlik and Margaret Sullivan as Miss Novak. Mr. Kravlik is the top salesman at Matusek's, a store owned by the somewhat erratic Mr. Matusek, who kind of reminded me of a marginally brighter Michael Scott. One day Miss Novak comes into the shop and fast talks her way into a job as a sales clerk. Both she and Mr. Kravlik immediately take a dislike to each other, which is ironic because Mr. Kravlik and Miss Novak have been unwittingly corresponding with each other anonymously and falling in love over the last few months, which was something people used to do in the pre-Internet age before Tinder and Match.com. However, big trouble is on the horizon because one of the sales clerks is having an affair with Mr. Matusek's wife and Mr. Matuszek mistakenly blames Mr. Kravlik, who is in fact the most loyal of his employees and the only one brave enough to disagree with him. The movie was both very funny and had a real degree of tension with dramatic stakes. It's a cross between You've Got Mail (which was partially inspired by this movie) and the UK version of The Office. It's a very tight movie, not a single line of dialogue or shot was wasted and the layout of the shots was nearly perfect. In the modern mind, we tend to think of black and white movies as being sanitized and saccharine, but that overlooks that the 1950s and the 1940s were in fact very different periods in American history. Movies from the ‘40s really do have this hard, sometimes cynical, edge to them, without indulging in pointless nudity, graphic violence, or nihilism the way that modern movies often do. Like at one point in the movie, Mr. Matusek tries to shoot himself in despair, only for a teenage boy to stop him. That's dark stuff for romantic comedy. Of course the teenage boy is hardly traumatized by the experience. He definitely leverages the event to get himself promoted from delivery boy to sales clerk. I enjoyed this movie thoroughly. I do recommend you watch it with captions if possible, since sound technology has come a long way since 1940. Overall Grade: A+. So those were the movies that I saw and enjoyed in Winter 2023 and later this year, I will do a roundup of stuff I saw in Winter 2024. So that is it for this week. Thanks for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. And once more, have a Happy New Year! Stay safe and stay healthy and see you all next week.

In this recent interview, Nick Ippolito, explains to Trio360 and URComped CEO, Craig Shacklett, the importance of customer service in the casino space and how it differs from player development. They analyze how casino customer service directly affects players, why it's important for other departments to understand player development, how casino players differ from retail customers, and so much more. Topics Discussed: How casino customer service affects players Explaining Player Development to other departments Servicing casino customers vs. retail customers What's unique about players Gambler behavior and triggers Learn more: https://trio360.vip/casino-customer-service-cocktails-at-the-tangiers-nick-ippolito-interview-video/

Random Vegas The office of Sam “Ace” Rothstein and the Tangiers sports book in Martin Scorsese's Casino was filmed on the site of an unopened casino at the Jockey Club (@summacorp) Twitpic of the week One of the reasons Vegas is like no other place on the planet is the wide array of architecture it has on display.  It has a mixture of traditional, themed and many in a category of their own.  Unfortunately, the creativity that brought us the likes of Caesars Palace, Paris and Excalibur, shared here by @las_when,  seems to have been forgotten or at least abandon.  The situation leaves those that appreciate them to desperately fear that the themes that make the city so unique are now the targets for redevelopment by those who thought an office park on the strip was something visitors wanted.  The only constant in life is change so rather than lament the inevitable we should try to just enjoy what we have while we have it. News F1 Vegas Eve Venetian Grandstands Mirage Mountain Trespassing Jackpots Wizard of Oz Escape Room Naked Crimes Hooker Gone Wild Sphere Struggles The Continental Returns Palms billboard sign Cosmopolitan to Vdara Canteen Food Hall The Family Plan

Nick Ippolito AKA "The Host Whisperer" recently posted, "Breaking Newes! Hosts do not need to be coded to all your top-tier players". In this new interview, Trio360 and URComped CEO, Craig Shacklett, asks the Casino Host Trainer and Player Development Mentor to elaborate on his post in their discussion as well as go over a potential new structure. Topics Discussed: -Coding Top-Tier Players -Problems with coding players -Player Loyalty -Connecting Customer Service -How to transition high-frequency players away from hosts  Learn more: https://trio360.vip/does-every-player-need-to-be-coded-to-a-host-cocktails-at-the-tangiers-nick-ippolito-interview-video/

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 *** ...This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5788750/advertisement

Sesta puntata della sesta stagione di J-TACTICS, la rubrica di radiomegliodiniente.com, dedicata alla vecchia signora bianconera."Casinò" (Casino) è un film del 1995, diretto da Martin Scorsese e interpretato da Robert De Niro, Sharon Stone e Joe Pesci.Ispirato al libro dello stesso anno di Nicholas Pileggi, Casino: "Love and Honor in Las Vegas", che dettaglia le attività criminali dei mafiosi statunitensi Frank "Lefty" Rosenthal e Anthony "The Ant" Spilotro nel mondo dei casinò della Las Vegas degli anni ottanta.Il malavitoso Remo Gaggi, a capo dell'organizzazione criminale Chicago Outfit, ripone una grande fiducia in Sam Rothstein, detto Asso.L'uomo, dopo aver arricchito la famiglia Gaggi con la sua bravura nelle scommesse, viene incaricato di gestire il casinò Tangiers a Las Vegas.Dopo aver aggirato la legge grazie alle lacune burocratiche della Contea, Asso diventa il gestore del casinò e in breve tempo riesce ad ottenere incredibili profitti con la complicità del fittizio proprietario Phillip Green. Mentre il Tangiers diventa celebre e ospita personalità di spicco, Gaggi incarica Nicky Santoro di controllare gli affari di Asso.Pur essendo amici di vecchia data, Asso teme che i metodi barbari di Nicky possano mettere in pericolo il suo traffico d'illeciti.Le sue preoccupazioni, tuttavia, sono momentaneamente sollevate dall'incontro con l'affascinante Ginger.Sebbene la donna sia invischiata nel giro di prostituzione e droga dal quale è totalmente dipendente, Asso sottovaluta le profonde problematicità della donna e le chiede di sposarlo...Facendo la nostra solita trasposizione dalla cinematografia al mondo del calcio, ed in modo particolare alle vicende juventine, potremo utilizzare il titolo e le vicende narrate nella pellicola per analizzare la surreale vicenda vissuta dal giovane centrocampista bianconero Nicolò Fagioli, caduto suo malgrado nel tunnel delle scommesse clandestine e della ludopatia. Il calciatore della Juve ha confessato tutto. “Scommettevo sui siti illegali perché, all'inizio, facevano credito”, le parole della giovane promessa juventina.Nonostante tutto, Nicolò Fagioli è stato fortunato.Era precipitato in un buco nero senza fine, era rimasto invischiato in una meccanismo piu grande di lui, senza avere garanzie del se, come e quando ne sarebbe uscito.Aveva iniziato a scommettere senza un motivo preciso, certamente non per necessità di denaro.Non c'è una ragione in particolare, un brivido per spezzare la monotonia e la pressione quotidiana, la voglia di rischiare camminando sul ciglio dello strapiombo e magari cadere e gettare al vento, in questo caso, un promettente e radioso avvenire professionale.Ma come detto, Fagioli è stato fortunato e nello strapiombo non c'è finito.La Juventus gli ha teso una mano e l'ha tirato fuori dal buco nel quale era caduto.Continuerà ad allenarsi con in compagni di squadra alla Continassa, lo stipendio non gli verrà sospeso né decurtato e tanto meno verrà rescisso il contratto.La famiglia, quella sportiva nonché quella affettiva lo accompagnerà nel cammino verso il recupero, sconterà la squalifica, si darà una ripulita.La Federcalcio ha infatti raggiunto un accordo con il ragazzo, il centrocampista della Juventus è stato squalificato per 12 mesi, 5 dei quali trasformati in pene alternative. "Scommettevo sui siti illegali perché, all'inizio, facevano credito".Fagioli è stato risucchiato in un meccanismo perverso per noia convinto che non ci fosse nulla di male, che era un semplice passatempo.E invece quel divertimento s'è trasformato in una vera e propria patologia: "di notte pensavo di giocare solo per rifarmi dei soldi persi e dei debiti",...paga o ti spezziamo le gambe", lo minacciarono.Si è auto-denunciato e adesso può riprendersi la vita e forse anche quella carriera che stavano andando irrimediabilmente in malora.In famiglia s'erano accorti che qualcosa non andava, ed erano, per quanto possibile, intervenuti.Sua madre gli suggerì di rivolgersi a un consultorio: "sono andato qualche volta al Sert di Cremona" mettendo anche mano ai suoi conti e provando a tenerli sotto controllo.Nel giro di poco tempo infatti matura un passivo di 250 mila euro poi aumentato in maniera esponenziale fino a toccare i 3 milioni.Tornerà in campo tra quasi un anno dopo la squalifica, e nel frattempo, si spera, avrà rimesso a posto una vita da privilegiato dopo aver rischiato di perderla per averla data in pegno su un tavolo da gioco.Non mancherà poi ovviamente uno sguardo alla sfida andata in scena domenica sera in quel di San Siro dove i bianconeri hanno conquistato tre punti d'oro con un pò di mestiere e un pò di fortuna, che non guasta mai. Di questo ed altro parleremo in questa puntata!Diteci la vostra, interagiremo con voi in chat live!Ecco i link dei nostri social:CANALE TELEGRAM:https://t.me/+TYOn7FZAQwet7MAtINSTAGRAM:https://instagram.com/jtactics_?igshid=YmMyMTA2M2Y=TWITTER:https://twitter.com/RadioMDN?t=woKQltSFRUTw9qibbRZaJA&s=09

In this interview, Trio360 and URComped CEO, Craig Shacklett, talks with Casino Host Trainer and Player Development Mentor, Nick Ippolito AKA “The Host Whisperer” about the difference between Vegas and regional markets and how regional casinos can stand out in their markets. Topics Discussed: How is Vegas like a puppet show Challenges regional casinos face Dealing with a saturated market How to stand out when your property doesn't have many amenities Vegas branding Market isolation Learn more: https://trio360.vip/vegas-the-puppet-show-cocktails-at-the-tangiers-nick-ippolito-interview-video/

Today Dominic Hoey talks to Jesse about Night Boat to Tangiers by Kevin Barry, a book which as longlisted for the prestigious 2019 Booker Prize.

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 *** ...This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5788750/advertisement

Hosted by Kerry DiamondProduced by Catherine Baker and Jenna SadhuEdited by Jenna SadhuMusic by Tralala, “All Fired Up”Chef Juliana Latif and her team at Zou Zou's are turning out some of the best restaurant dishes in Manhattan, from the dip towers to the Strawberry Shirazi salad with cucumber and mint, Smoked Cherry Baby Lamb Chops, and Kataifi Cheesecake. She got her start at a young age, helping out at her parents' specialty grocery shop, Tangiers in West Hartford, Conn., then went on to attend culinary school, intern at Disney World in Florida, and rise to the level of sous chef at the Michelin-starred NoMad in Manhattan. Juliana, Zou Zou's executive chef, joins host Kerry Diamond to talk about her family (she's the youngest of 11), how cooking for others became her love language, the story behind her tattoos, and why she's happy being a low-key culinary personality.Thank you to OpenTable for supporting this episode. Radio Cherry Bombe is a production of The Cherry Bombe Podcast Network. This episode was recorded at Newsstand Studio in New York City and Outpost Studio in San Francisco. Subscribe to our newsletter and check out past episodes and transcripts here. More on Juliana: Instagram, Zou Zou's Restaurant

Top Secret starring Ilona Massey, originally broadcast June 25, 1950, 73 years ago, A Package in Tangiers. "The Baroness" risks her position as the personal maid to Frau Goring to travel to "The Bazaar Of The Singing Fountain" to find the twelve-year-old boy with the gray hair!I'm done fighting with my doctors. A variety of health issues have led me to a decision that I hoped I wouldn't have to make for a couple of more years.Classic Radio Theater will end June 30, 2023.I want to thank everyone who made this show possible over the years. I know it's only about three weeks for stations to make alternate programming arrangements, but it's a choice that I had to make. I'm nearing 70 years of age, and the grind of producing these shows is just too much.It has been my honor and pleasure to serve you these past eight years.#Classic-Radio #Old-Time-Radio #Crime #top-secret #ilona-massey

Top Secret 1950-06-26 (003) A Package in Tangiers

The Adventures of Harry Lime | 04 episode, Ticket to Tangier | This episode aired, Friday, August 24, 1951.In 1950, British radio producer Harry Alan Towers persuaded Orson Welles to revive his most popular role in a radio series called “The Lives of Harry Lime.” Each week Lime would recall a different adventure from his colorful past. The episode “A Ticket to Tangiers,” broadcast on August 24, 1951, was one of several episodes written by Welles.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Mike and Kyle take a tour through the world of sex tourism, including stops at Thailand; the Temple of Aphrodite in Cypress; Puerto Vallarta, Mexico; Tangiers, Morocco; and Mike's recent trip to Palm Springs. In this episode: News- 8:18 || Main Topic (Sex Tourism)- 22:15 || Gayest & Straightest- 1:27:55 On the bonus segment, we get into more of the origins of sex tourism research and the results of the gayta of what sex workers from Puerto Vallarta said. Get ad-free episodes 1 day early by joining Patreon at any level at www.patreon.com/gayishpodcast.

Welcome to Many Roads Travelled: (Solo Female) Travel Podcast The travel podcast that takes you on epic road trips around the world via public transport or hitching! So if you love to travel & travel adventures then come along for the ride! The first series was about my 16 months, 31,000-mile road trip from Paris to Cape Town way back in 1993/94! The 2nd series was about my solo month-long overland trip around Central America in February 2020. I travelled to 6 countries including Belize, Guatemala, El Salvador, Honduras, Nicaragua and Costa Rica. The 3rd series is about returning to Brighton UK after 6 years, (my home for 20 years) and travelling around Morocco with a cane due to my bum knee in June 2022. First of all, thank you so much for listening. Check out the travel websites that I use for travel insurance, booking hotels, tours and if you would like to work from anywhere then join my free affiliate marketing course then just go to https://manyroadstravelled.com/podcast On today's episode #72 (S3E3) Being the Queen of Sheba in Fes MoroccoI will be talking about:What to do in Chefchaouen MoroccoHow to get from Tangiers to Chefchaouen MoroccoHow to get to Fes from Chefchaouen MoroccoWhat to do in Fes Morocco  You can find more info on Many Roads Travelled as well as on social media: https://facebook.com/manyroadstravelledhttps://instagram.com/manyroadstravelledhttps://manyroadstravelled.com/youtubehttps://twitter.com/manyroadhttps://linkedin.com/tamarabeehttps://pinterest.com/manyroadstravelledhttps://tiktok.com/manyroadstravelled New episode is out every other Thursday! The next episode we will be going to Casablanca & Agadir Morocco! This series will be about my recent trip to Morocco (June 2022) Make sure you subscribe so you don't miss a stop on these epic road trips! Donations will be greatly appreciated (and I receive 100% of them). You can help me keep producing the podcast right here.  If you would like to contact me with any questions, feedback or about being a guest on your show you can get in touch via my contact page or Press Kit. If you would like to get a shoutout on my weekly podcast then just leave me a review on iTunes for Apple users on my website or in the comment section on my Youtube channel. Until then, safe travels...one road at a time.Tamara xSupport this podcast at — https://redcircle.com/many-roads-travelled-solo-female-travel/donations

There is a strong relationship between the land and our interior landscapes. When we are connected to the land, we're connected to ourselves, and one another.Hillary will share how art can be a bridge helping us to reconnect with land, ourselves, and our Ancestral lineages, ultimately helping to re-weave ourselves into the web of life. She will discuss her own creations which bring together materials and processes that express the union of humanity and the physical world. Hillary states, “Stitching, like agriculture, can be functional-- a technical solution to join materials/a means of survival-- or, both can be done purely in service of the soul, lifting the spirit through beauty and wonder.”Hillary Waters Fayle is an Artist and Assistant Professor at Virginia Commonwealth University, where she directs the fiber/textile program. She has previously taught at the Appalachian Center for Craft (TN), Penland School of Craft (NC), the Mediterranean Art & Design Program (Italy) and Yasar University (Turkey) and was recently awarded residencies at Oak Spring Garden Foundation (VA) and Bazart Textile (France). Her work is in the permanent collections of the Burchfield Penney Art Center in Buffalo, NY, United States Embassy to Sri Lanka, Colombo, the Kalmthout Arboretum & Botanical Gardens in Belgium and the US Embassy in Tangiers, Algeria. Recent professional projects include collaborations with Grace Farms Foundation (Ct), Thoreau Farms Trust (Ma), Domestika (Spain), L'Occitane en Provence (Switzerland), Institut National de la Recherche Agronomique (France), and the New York Botanical Garden. A public installation in collaboration with the AKG Museum can be seen year round in Buffalo, NY. More information and images of Hillary's work can be found here on ONE's website. Support the show

Hear about travel to Morocco as the Amateur Traveler talks to Azdean Elmoustaquim from the Destination Morocco site and podcast about his native country.

The golden age of vinyl records is long past in Africa, but the market for rare and reissued African vinyl outside the continent has been growing steadily since the early 2000s. DJs and collectors have turned an obsession with rare records and forgotten gems from Cape Town to Tangiers into an international reissue and compilation industry, led by record labels such as Soundway, Strut and Analog Africa. This program explores some of the complex and shifting dynamics of neocolonialism, cultural ownership and audience in the African vinyl market. We'll hear stories from label owners, DJs and artists, touching on controversies around Nigerian disco funk reissues, new career opportunities for sometimes-obscure African artists, the unique vinyl culture in South Africa, and much more. Produced by Morgan Greenstreet and Alejandro Van Zandt-Escobar, with Nenim Iwebuke. APWW #749 Originally produced in 2017

Detectives OTR-The Lives Of Harry Lime -A Ticket To Tangiers http://oldtimeradiodvd.com  or Nostalgia USA PRIME Roku Channel

Steve goes to Tangiers undercover as a soldier of fortune who bore an uncanny resemblance to Steve. Steve has to find out who killed his doppleganger without being murdered himself.Original Air Date: February 13, 1950Support 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 at http://survey.greatdetectives.netGive us a call at 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesFollow us on Twitter @radiodetectives

"In Vegas, everybody's gotta watch everybody else. Since the players are looking to beat the casino, the dealers are watching the players. The box men are watching the dealers. The floor men are watching the box men. The pit bosses are watching the floor men. The shift bosses are watching the pit bosses. The casino manager is watching the shift bosses. I'm watching the casino manager. And the eye-in-the-sky is watching us all." - Sam "Ace" Rothstein, "Casino", 1995 Since the days of Sam Rothstein and the Tangiers - or Frank Rosenthal and the Stardust, if you will - casino security has come a LONG ways. The industry has moved on from binocular-carrying staff, wandering catwalks in the ceiling to a world of digitally networked video recording and facial recognition software...and my guest for this episode of the podcast is here to take us behind the curtain and into that world. Charles H. Barry is an expert in casino and corporate security, surveillance & investigations and currently runs his own consulting firm.  He has over 30 years in the field and has worked with several major gaming companies.  Mr. Barry is also a former law enforcement officer, having worked as a detective with the Phoenix Police Department and as a Special Agent with the FBI. Charles and I discussed the evolution of casino security over the last several decades, emerging threats to casinos & hotels, and the major event that forced gaming corporations to re-examine their security procedures from top to bottom. If you'd like to learn more about Charles and the services he currently provides, be sure to visit his website. __________________________________________________________________________ Jeff Does Vegas is an official Vegas.com affiliate!  Help support the podcast & get exclusive deals by booking your hotel stays, shows, attractions, tours, clubs and even complete vacation packages (including air & hotel) with our special link!  

Brothers Phil & Warren try not to get their heads stuck in a vise while deep diving into Martin Scorsese's epic crime drama classic “Casino.” Topics include: behind the scenes (3:40), the stars of the picture (17:45), stats & accolades (27:30), best scenes & lines (38:10), Judge Bob's recasting court (1:04:25), and the film's legacy & lore (1:24:45), plus much more.

Top Secret starring Ilona Massey, originally broadcast June 25, 1950, 72 years ago, A Package in Tangiers. "The Baroness" risks her position as the personal maid to Frau Goring to travel to "The Bazaar Of The Singing Fountain" to find the twelve-year-old boy with the gray hair!

Set against the romantic desolation of Detroit and Tangiers, an underground musician, deeply depressed by the direction of human activities, reunites with his resilient and enigmatic lover. Their love story has already endured several centuries at least, but their debauched idyll is soon disrupted by her wild and uncontrollable younger sister. Can these wise but fragile outsiders continue to survive as the modern world collapses around them? To check out more information about That Horrorcast, take a look at our website: https://thathorrorcast.com/ Art and other work done by host, Dmitry Samarov can be found on his site: https://www.dmitrysamarov.com/ Mallory Smart's writing and random publishing projects can be checked out here: https://mallorysmart.com/ --- Support this podcast: https://anchor.fm/thathorrorshow/support

Play it again, Russian Sam. The gang takes a deep dive into the circumstances that produced the most celebrated picture in Hollywood history: Casablanca. We explore how a distant Moroccan port became a cosmopolitan haven for Europe's refugees, delve into the notorious Vichy French government that ran wartime North Africa, and explain how the most beloved American film almost didn't happen in this week's episode. Note: Sam mistakenly mentions the First and Second Agadir Crises. This was a mistake, these were rather called the Moroccan Crises and the first one is named after Tangiers and happened in 1905-6, while the second one is the Agadir Crisis of 1911. Hosted by Liam, and Russian Sam. --- Support this podcast: https://anchor.fm/gladiofreeeurope/support

Benefit & Messiah Kane joined me on this episode. They've known each other forever & Kane has been on alot of Benefit's projects under different names in the past but they came together during the pandemic & started working on music & put out this great album The House Always Wins as The Tangiers. They have alot of stuff in the works for 2022. Documentary, soundtrack, another album, & more. You can find out all this & more on this episode. Make sure to follow them & check out their debut Tangiers album asap. --- Support this podcast: https://anchor.fm/craigmosher/support

The Morning Hookah Show: Guest Tangiers ☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁ Support the show https://streamlabs.com/morninghookah Instagram Instagram.com/morningHookah Prestige Bubbles coco coals https://prestigebubbles.com/ UK/EU Hookah Shop Kakashookahs.com ☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁ Morning Hookah Live show Saturday Morning 10 AM CST ☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁☁ --- Send in a voice message: https://anchor.fm/morninghookah/message Support this podcast: https://anchor.fm/morninghookah/support

Break It Down EP #56 w/Messiah Kaine "The House Always Wins" Messiah Kaine is one half of The Tangiers representing Springfield and Western Mass.  Their debut album "The House Always Wins" is available now!! In today's episode we discuss "The House Always Wins," how the album came about with producers, Kaines long history with Benefit of EMS and what else is in store for the Tangiers. Stream "The House Always Wins" on Spotify or iTunes Follow Messiah Kaine on Instagram Follow Own Lane Music on YouTube – Twitter – Instagram – Facebook for more Break It Down episodes and real hip-hop content. Hosted by DJ WorksHard. Presented by Own Lane Music. Copyright Own Lane Media LLC 2021.

Break It Down Episode # 33 w/ Benefit "Co-Defendants" Benefit represents Western Mass, EMS, Co-Defendants and currently The Tangiers. Benefit is always open and genuine which is why he is one of the realest dudes in the game. In this episode we discuss "Co-Defendants" an album Benefit recorded with Profit and showcased the lyrical abilities of both MC's. The journey Benefit has taken from your average kid rapping to having a distinguished career.  We briefly talk about how some of this conversation was missed because I forgot to hit the record button! Stream "Co-Defendants" on Spotify or iTunes Listen to Benefit on Spotify Follow Benefit on Twitter – Instagram - Facebook Follow Profit on Instagram Follow The Tangiers on Instagram Follow Own Lane Music on YouTube – Twitter – Instagram – Facebook for more Break It Down episodes and real hip-hop content. Hosted by DJ WorksHard. Presented by Own Lane Music. Copyright Own Lane Media LLC 2021.

Break It Down EP #24 w/Messiah Kaine "The Aces High Show" Ft Smif-n-Wessun (prod by M-Dot) Messiah Kaine is one half of The Tangiers representing Springfield and Western Mass.  Their debut album "The House Always Wins" drops later this year. We break down "The Aces High Show" a track featuring Smif-n-Wessun prod by M-Dot and the second single from The Tangiers and what else is in store from "The House Always Wins" Stream "The Aces High Show" on Spotify or iTunes Follow Messiah Kaine on Instagram Follow Own Lane Music on YouTube – Twitter – Instagram – Facebook for more Break It Down episodes and real hip-hop content. Hosted by DJ WorksHard. Presented by Own Lane Music. Copyright Own Lane Media LLC 2021.

Break It Down Episode # 20 w/ Benefit "Killa Kannibals" Benefit represents Western Mass, EMS, CoDefendants and currently The Tangiers, his latest collaboration with Kaine. Today we break down "Killa Kannibals" a dope battle rap inspired anthem featuring the late Pumpkinhead (RIP) and Famoso.   Watch "Killa Kannibals" on YouTube. Stream "Killa Kannibals" on Spotify or iTunes Listen to Benefit on Spotify Follow Benefit on Twitter – Instagram - Facebook Follow The Tangiers on Instagram Follow Own Lane Music on YouTube – Twitter – Instagram – Facebook for more Break It Down episodes and real hip-hop content. Hosted by DJ WorksHard. Presented by Own Lane Music. Copyright Own Lane Media LLC 2021.

Break It Down EP #14 w/Messiah Kaine "Napa Valley" Messiah Kaine is one half of The Tangiers representing Springfield and Western Mass.  Their debut album "The House Always Wins" drops later this summer. We break down "Napa Valley" prod by 84 Music and the third single from The Tangiers and what else is in store from "The House Always Wins" Stream "Napa Valley" on Spotify or iTunes Follow Messiah Kaine on Instagram Follow Own Lane Music on YouTube – Twitter – Instagram – Facebook for more Break It Down episodes and real hip-hop content. Hosted by DJ WorksHard. Presented by Own Lane Music. Copyright Own Lane Media LLC 2021.