Podcasts about tomorrows

“Securian holds a steadfast commitment to its customers, partners, and the broader community by honoring its promises and insuring dependable protection.” – Cynthia Billingsley-SmartThank you for tuning in to The CUInsight Network, with your host, Robbie Young, Vice President of Strategic Growth at CUInsight. In The CUInsight Network, we take a deeper dive with the thought leaders who support the credit union community. We discuss issues and challenges facing credit unions and identify best practices to learn and grow together.My guest on today's show is Cynthia Billingsley-Smart, Customer Benefit Payments Manager at Securian Financial, whose journey is as inspiring as it is insightful. She has built a career that truly makes an impact, moving from examiner to senior specialist, trainer, auditor, supervisor, and now manager. She discusses what it really means to support credit unions and their members, and Cynthia reflects on Securian's purpose statement to build secure tomorrows.In our conversation, we talk about how Securian guides the way that they deliver protection products that make a measurable difference when members face unexpected challenges, and Cynthia highlights the fact that partnerships and product innovations aren't just about offerings; the claims experience is where trust is won or lost. Cynthia also discusses leadership, highlighting the mentors who shaped her path and the principles that she carries forward in her own role.As we wrap up the episode, Cynthia talks about her love of designer handbags, New Orleans, and the professional book that she recommends—The Digital Mindset, a book which she calls essential reading for anyone navigating today's rapidly evolving work environment. If you're curious about how thoughtful leadership, innovative solutions, and member-first approaches intersect in the credit union world, then you will enjoy my conversation with Cynthia Billingsley-Smart!Securian Financial is the marketing name for Securian Financial Group, Inc., and its subsidiaries.Find the full show notes on cuinsight.com.Connect with Cynthia:Cynthia Billingsley-Smart, Customer Benefit Payments Manager at Securian Financialsecurian.comCynthia: LinkedInSecurian Financial: LinkedIn | Facebook | Instagram

HomeBuilder Institute CEO Ed Brady applauded Trump's push to encourage people to consider trade schools as a path to in-demand good paying jobs. Now, with President Trump reportedly finalizing a $500 million deal with Harvard to launch a major trade school, “Technology cannot build itself,” Brady said. “AI, data centers, and new housing all depend on electricians, carpenters, and welders to power America forward. The future of higher education must include skilled jobs training — and we welcome Harvard to the mission.”October is Careers in Construction Month which shines a spotlight on the countless opportunities in the building industry. From skilled trades to management roles, the construction sector is one of the fastest-growing fields in the U.S. – and it needs the next generation of leaders, innovators, and builders.Home Builders Institute (HBI) is at the forefront of preparing youth, veterans, and career changers with the skills they need to succeed in this demanding industry.Under Brady's leadership, HBI has opened BuildStrong Academies in Sacramento, Orlando, Charlotte, New Orleans, Phoenix, and Puerto Rico, connecting students directly to employment — with a goal to grow to 24 nationwide.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

In this deeply personal and unfiltered episode of the Forged in the Fires Podcast, Fireman Rob confronts a truth we all face: pain is real—but it doesn't mean you're broken. Pulling from his raw and powerful book, *F@ked Up Yet Fighting for Tomorrows, Rob explores the idea that struggle is not a stop sign—it's part of the road to growth, healing, and purpose.He shares real stories of trauma, loss, and resilience—from the frontlines of firefighting and military service to the depths of personal mental health battles. This episode isn't about pretending it's easy—it's about finding the strength to keep moving forward when life hits the hardest.

Hour 2: Ben Standig calls in to talk about tomorrows matchup with the Cowboys / What's going on with Lamar Jackson and the Ravens? / Double Play: Best Christmas Gift You've Ever Gotten

Pastor Herman Haupu www.faithfamilymaui.com

Louise Marie chats to Ben Hobbis about developing future leaders.

The guys are back to breakdown the brand new EP from a huge influential band for the show! Hit The Lights dropped Tomorrows Gonna Hurt a few weeks ago and the boys discuss what an awesome treat this is and how good this EP is. If you're a fan of early-mid 2000s pop punk you need to go check this EP out ASAP!

Inventor Reginald Aubrey Fessenden received hundreds of patents in his career. And one invention that debuted in 1906 changed Christmas as we know it.Music in This Episode"Agony and Ivory" — Blue Dot Sessions, via Free Music Archive"The Cresting" — Blue Dot Sessions, via Free Music Archive"Tranquility" — Kevin MacLeod, via Free Music Archive"Peaceful Acoustic Guitar Instrumental for Relaxation" — Nicholas Panek, via Pixabay"Wholesome Original Lullaby" — Viktor Baikovskyi, via PixabayOrder your copy today! Of Christmases Long, Long AgoConnect with Me Links to all the things https://christmaspastpodcast.com/links Email: christmaspastpodcast@gmail.com BooksOf Christmases Long, Long Ago: Surprising Traditions from Christmas Past (2025, Lyons Press and Recorded Books) It's Christmas as you've never seen it before, and it makes a great gift for all the Christmas lovers in your life. Christmas Past: The Fascinating Stories Behind Our Favorite Holiday's Traditions (2022, Lyons Press and Recorded Books)

We test out knowledge with real or fake headlines. Jason Mikell from WBZ News calls in to give us the scoop on tomorrow's storm! Listen to Billy & Lisa weekdays from 6-10AM on Kiss 108! See omnystudio.com/listener for privacy information.

What happens when traditional financial planning falls short for families caring for loved ones with disabilities? How do you create a comprehensive plan that addresses not just money, but government benefits, legal structures, and quality of life for someone who will need support forever? In this episode, Jeremy Houser interviews Mary Anne Ehlert, CEO and … Read More Read More

Fluent Fiction - Hindi: Diwali Lights: A Lesson in Balance and Brighter Tomorrows Find the full episode transcript, vocabulary words, and more:fluentfiction.com/hi/episode/2025-11-17-23-34-02-hi Story Transcript:Hi: कॉलेज हॉस्टल के गलियारों में आज शाम कुछ और ही उत्साह था।En: There was a different kind of excitement in the corridors of the college hostel this evening.Hi: दीवाली की आवाज़ें बाहर से भीतर तक गूंज रही थीं।En: The sounds of Diwali echoed from outside to inside.Hi: आकाश में रंगीन पटाखों की बारात थी।En: The sky was filled with colorful fireworks.Hi: हर तरफ हंसी, बातचीत और सजावट का माहौल था।En: Everywhere, there was an atmosphere of laughter, conversation, and decoration.Hi: Aarav अपनी किताबों के ढेर में खोया हुआ था।En: Aarav was lost in a pile of books.Hi: उसकी आँखों में चिंता साफ झलक रही थी।En: Concern was clearly visible in his eyes.Hi: आख़िरी परीक्षा नज़दीक थी और Aarav को अपनी तैयारी पर संदेह हो रहा था।En: The final exam was near, and Aarav was doubting his preparation.Hi: उसके सामने Meera बैठी थी, जो थोड़ी मस्तीखोर थी।En: In front of him sat Meera, who was a bit mischievous.Hi: उसने Aarav को थोड़ा तंग करते हुए कहा, "इतना चिंतित क्यों हो?En: She teasingly said to Aarav, "Why are you so worried?Hi: किताबें भागी नहीं जा रही हैं।En: The books are not going anywhere."Hi: " Aarav ने पुस्तक से नज़रें हटाते हुए कहा, "तुम नहीं समझोगी, Meera, मुझे हर हाल में क्लास में टॉप करना है।En: Aarav looked up from his book and said, "You won't understand, Meera, I have to top the class at any cost."Hi: "अचानक, कमरे की बत्ती बुझ गई।En: Suddenly, the room's light went out.Hi: बिजली चली गई थी।En: The electricity had gone.Hi: Aarav का चेहरा देख Meera हँस पड़ी।En: Seeing Aarav's face, Meera burst out laughing.Hi: उसने कहा, "लो, अब तो प्रकृति ने भी तुम्हें आराम करने का संकेत दिया है।En: She said, "Look, now nature itself is giving you a sign to rest."Hi: " Aarav ने खीझते हुए कहा, "ये समय नहीं है आराम का, मुझे पढ़ना है।En: Aarav, irritated, said, "This is not the time for rest, I need to study."Hi: " Meera ने उसे हौसला बँधाते हुए कहा, "कभी-कभी खुद को थोड़ा ढील देने में फायदा होता है।En: Meera motivated him by saying, "Sometimes giving yourself a little break is beneficial.Hi: आओ, बाहर चलें, दीवाली का लुत्फ लें।En: Come on, let's go outside and enjoy Diwali."Hi: "Aarav के कानों में दूर से आती पटाखों की आवाजें गूंज रही थीं।En: The sounds of fireworks could be heard from afar entering Aarav's ears.Hi: बाहर जाकर उसने देखा, सब दोस्त मिलकर दीपक जला रहे थे और मिठाई बाँट रहे थे।En: Going outside, he saw all the friends lighting lamps and distributing sweets.Hi: Aarav की मन की बेड़ी धीरे-धीरे ढीली हो रही थी।En: The chains on Aarav's mind were slowly loosening.Hi: Meera ने उसके हाथ में एक जलता हुआ दीया पकड़ाते हुए कहा, "देखो, कितनी खूबसूरत लगती है रोशनी!En: Meera handed him a lit lamp and said, "Look, how beautiful the light looks!"Hi: "उस पल Aarav ने खुद से कहा, "शायद थोड़ी देर के लिए पढ़ाई छोड़कर ये पल जीना बेहतर है।En: At that moment, Aarav said to himself, "Perhaps it's better to live in this moment by leaving studies for a little while."Hi: " उन्होंने बाकी दोस्तों के साथ मिलकर पटाखों का मज़ा लिया और मिठाइयाँ बाँटी।En: They enjoyed the fireworks and shared sweets with the rest of the friends.Hi: आसमान में उठते रंगीन उजाले को देख Aarav का मन पूरी तरह हल्का हो गया।En: Watching the colorful lights rise in the sky, Aarav's mind felt completely light.Hi: जब Aarav वापस अपने कमरे में लौटा, तो उसने महसूस किया कि उसका मन अब पहले से ज़्यादा साफ और उत्साहित है।En: When Aarav returned to his room, he realized that his mind was now clearer and more excited than before.Hi: उसने किताबें फिर से उठाईं और पढ़ाई शुरू कर दी।En: He picked up his books again and started studying.Hi: उसने अब इस बात को समझ लिया था कि जीवन में संतुलन रखना भी जरूरी है।En: He now understood that keeping a balance in life is also important.Hi: पढ़ाई अपनी जगह है, मगर त्यौहारों की खुशी का अलग ही स्थान होता है।En: Studies have their place, but the joy of festivals holds a different significance.Hi: उस रात Aarav को सुकून भरी नींद आयी।En: That night, Aarav had a peaceful sleep.Hi: उसने जाना कि कभी-कभी त्यौहार की रौनक को अपनाना, मन को ताज़गी और नयी ऊर्जा दे जाता है।En: He learned that sometimes embracing the charm of festivals gives the mind freshness and new energy. Vocabulary Words:excited: उत्साहितcorridors: गलियारोंechoed: गूंज रही थींcolorful: रंगीनfireworks: पटाखोंatmosphere: माहौलlaughter: हंसीmischievous: मस्तीखोरteasingly: तंग करते हुएconcern: चिंताvisible: झलक रही थीelectricity: बिजलीmotivated: हौसला बँधाते हुएbeneficial: फायदाloosened: ढीली हो रही थीembracing: अपनानाsignificance: महत्त्वmischievous: मस्तीखोरbalance: संतुलनdecoration: सजावटlight: रोशनीteasingly: तंग करते हुएirritated: खीझतेchains: बेड़ीdistributed: बाँट रहे थेembracing: अपनानाrefreshment: ताज़गीenergy: ऊर्जाgleamed: चमक रही थीpreparation: तैयारी

HomeBuilder Institute CEO Ed Brady applauded Trump's push to encourage people to consider trade schools as a path to in-demand good paying jobs. Now, with President Trump reportedly finalizing a $500 million deal with Harvard to launch a major trade school, “Technology cannot build itself,” Brady said. “AI, data centers, and new housing all depend on electricians, carpenters, and welders to power America forward. The future of higher education must include skilled jobs training — and we welcome Harvard to the mission.”October is Careers in Construction Month which shines a spotlight on the countless opportunities in the building industry. From skilled trades to management roles, the construction sector is one of the fastest-growing fields in the U.S. – and it needs the next generation of leaders, innovators, and builders.Home Builders Institute (HBI) is at the forefront of preparing youth, veterans, and career changers with the skills they need to succeed in this demanding industry.Under Brady's leadership, HBI has opened BuildStrong Academies in Sacramento, Orlando, Charlotte, New Orleans, Phoenix, and Puerto Rico, connecting students directly to employment — with a goal to grow to 24 nationwide.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

College Football podcast on Barstool sports hosted by Brandon Walker and Kayce Smith presented by Twisted Tea In today's episode we clean up all things College Football Week 11, answer your College Football questions, and give our thoughts to the next College Football Playoff rankings! ++++++++++++++++++++++++ DraftKings - GAMBLING PROBLEM? CALL 1-800-GAMBLER, (800) 327-5050 or visit gamblinghelplinema.org (MA). Call 877-8-HOPENY/text HOPENY (467369) (NY). Please Gamble Responsibly. 888-789-7777/visit ccpg.org (CT), or visit www.mdgamblinghelp.org (MD). 21+ and present in most states. (18+ DC/KY/NH/WY). Void in NH/OR/ONT. Eligibility restrictions apply. Terms: draftkings.com/sportsbook. On behalf of Boot Hill Casino & Resort (KS). Fees may apply in IL. 1 per new customer. Must register new account to receive reward Token. Must select Token BEFORE placing min. $5 bet to receive $300 in Bonus Bets if your bet wins. Min. -500 odds req. Token and Bonus Bets are single-use and non-withdrawable. Token expires 11/23/25. Bonus Bets expire in 7 days (168 hours). Stake removed from payout. Terms: sportsbook.draftkings.com/promos. Ends 11/16/25 at 11:59 PM ET. Sponsored by DK. Twisted Tea - Grab a refreshing Twisted Tea today https://www.twistedtea.com/locations Gametime - Download the Gametime app today and use code ROUGH for $20 off your first purchase Boll and Branch - Get 25% off sitewide, plus free shipping and extended returns at https://BollAndBranch.com/ROUGH BlueChew - Get your first month of BlueChew FREE Just use promo code ROUGHNESS at checkout and pay five bucks for shipping https://bluechew.com Experian - Download the Experian® app and meet your Big Financial Friend today. ++++++++++++++++++++++++ Follow the podcast on... Facebook: facebook.com/UnnecRoughness Instagram: instagram.com/unnecroughness/ Twitter: twitter.com/unnecroughness/ TikTok: tiktok.com/@unnecroughnessYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/unnecroughness

....And Better Tomorrows (10/28/25) by 96.5 WKLH

This episode of The New Abnormal podcast features Jordi Serra del Pino, who is a consultant with more than 40 years experience in foresight, strategy and intelligence.As a professor, he's participated in numerous academic programmes and currently holds several positions:Deputy Director at the Centre for Postnormal Policy & Futures Studies, Associate Professor at Blanquerna Ramon Llull University, Foresight professor at Lisa Institute, and is responsible for foresight at the Interuniversity Master's in Intelligence Analysis. He also serves on the editorial board of Futures and World Futures Review.Jordi has consulted for private companies, government agencies and international organizations.He's also a writer, contributing to major journals and mainstream media, and as a public speaker has given keynotes at numerous events around the world.In this episode, we discuss all of the above, along with some of the key influences on his thinking over a long and fascinating career. Jordi also outlines the imminent arrival of a dynamic new platform that he's about to launch in the futures-consulting space…

   In our journey together you’ve heard me many times say that God is always working a bigger plan than what appears to us; and God is always working TODAY in anticipation of what HE sees in our TOMORROWs!  Yesterday we witnessed one of the greatest events in Israel’s history… the crossing of the Jordan river by a huge throng of Israelites from their years of desert wandering into the Land of God’s Promise. It was a phenomenal miracle as God stopped the flow of the Jordan river, which was running at FLOOD stage, and this huge throng of people and animals crossed a dry Jordan riverbed into the land of their ancient ancestors.!! (Joshua 4)(Click here to see full text, images and links)    Pastor Doug Anderson    “Let us run with perseverance the race marked out for us, with our eyes fixed on Jesus…” (Heb. 12:1,2)Have a comment or question about today's chapter? I'm ready to hear from you, contact me here. Interested in helping "Walking with Jesus" financially? Click here

Glenn Adamson, author, "A Century of Tomorrows: How Imagining the Future Shapes the Present" Kirk Pearson - "Theme from Techtonic" - "Mark's intro" - "Interview with Glenn Adamson" [0:05:23] - "Mark's comments" [0:46:04] Hot 8 Brass Band - "Remember the Time" [0:55:03] https://www.wfmu.org/playlists/shows/156259

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This week we talk about the PKK, Turkey, and the DEM Party.We also discuss terrorism, discrimination, and stateless nations.Recommended Book: A Century of Tomorrows by Glenn AdamsonTranscriptKurdistan is a cultural region, not a country, but part of multiple countries, in the Middle East, spanning roughly the southeastern portion of Turkey, northern Iraq, the northwestern portion of Iran, and northern Syrian. Some definitions also include part of the Southern Caucasus mountains, which contains chunks of Armenia, Georgia, and Azerbaijan.So this is a sprawling region that straddles multiple nations, and it's defined by the presence of the Kurdish people, the Kurds, who live all over the world, but whose culture is concentrated in this area, where it originally developed, and where, over the generations, there have periodically been very short-lived Kurdish nations of various shapes, sizes, and compositions.The original dynasties from which the Kurds claim their origin were Egyptian, and they governed parts of northeastern African and what is today Saudi Arabia, Yemen, Israel, Lebanon, Syria, and Jordan. That was back in the 8th to 12th century, during which Saladin, who was the sultan of both Egypt and Syria, played a major historical role leading Muslim military forces against the Christian Crusader states during the Third Crusade, and leading those forces to victory in 1187, which resulted in Muslim ownership of the Levant, even though the Crusaders continued to technically hold the Kingdom of Jerusalem for another hundred years or so, until 1291.Saladin was Kurdish and kicked off a sultanate that lasted until the mid-13th century, when a diverse group of former slave-soldiers called the mamluks overthrew Saladin's family's Ayyubid sultanate and replaced it with their own.So Kurdish is a language spoken in that Kurdistan region, and the Kurds are considered to be an Iranian ethnic group, because Kurdish is part of a larger collection of languages and ethnicities, though many Kurds consider themselves to be members of a stateless nation, similar in some ways to pre-Israel Jewish people, Tibetan people under China's rule, or the Yoruba people, who primarily live in Nigeria, Benin, and Togo, but who were previously oriented around a powerful city-state in that region, which served as the central loci of the Ife Empire, before the Europeans showed up and decided to forcibly move people around and draw new borders across the African continent.The Kurds are likewise often politically and culturally powerful, and that's led to a lot of pushback from leaders in the nations where they live and at times operate as cultural blocs, and it's led to some very short-lived Kurdish nations these people have managed to establish in the 20th century, including the Kingdom of Kurdistan from 1921-1924, the Republic of Ararat from 1927-1930, and the Republic of Mahabad, which was formed as a puppet state of the Soviet Union in 1946 in northwestern Iran, following a Soviet push for Kurdish nationalism in the region, which was meant to prevent the Allies from controlling the region following WWII, but which then dissolved just a few months after its official formation due to waning support from the Kurdish tribes that initially helped make it a reality.What I'd like to talk about today is the Kurdistan Worker's Party, and why their recently declared ceasefire with Turkey is being seen as a pretty big deal.—The Kurdistan Worker's Party, depending on who you ask, is a political organization or a terrorist organization. It was formed in Turkey in late-1978, and its original, founding goal was to create an independent Kurdish state, a modern Kurdistan, in what is today a small part of Turkey, but in the 1990s it shifted its stated goals to instead just get more rights for Kurds living in Turkey, including more autonomy but also just equal rights, as Kurdish people in many nations, including Turkey, have a long history of being discriminated against, in part because of their cultural distinctiveness, including their language, manner of dress, and cultural practices, and in part because, like many tight-knit ethnic groups, they often operate as a bloc, which in the age of democracy also means they often vote as a bloc, which can feel like a threat to other folks in areas with large Kurdish populations.When I say Kurdish people in Turkey have long been discriminated against, that includes things like telling them they can no longer speak Kurdish and denying that their ethnic group exists, but it also includes massacres conducted by the government against Kurdish people; at times tens of thousands of Kurds were slaughtered by the Turkish army. There was also an official ban on the words Kurds, Kurdistan, and Kurdish by the Turkish government in the 1980s, and Kurdish villages were destroyed, food headed to these villages was embargoed, and there was a long-time ban on the use of the Kurdish language in public life, and people who used it were arrested.As is often the case in such circumstances, folks who support the Kurdish Worker's Party, which is often shorthanded as the PKK, will tell you this group just pushes back against an oppressive regime, and they do what they have to to force the government to backtrack on their anti-Kurdish laws and abuses, which have been pretty widespread and violent.The PKK, in turn, has been criticized for, well, doing terrorist stuff, including using child soldiers, conducting suicide bombings, massacring groups of civilians, engaging in drug trafficking to fund their cause, and executing people on camera as a means of sowing terror.Pretty horrible stuff on both sides, if you look at this objectively, then, and both sides have historically justified their actions by pointing at the horrible things the other side has done to them and theirs.And that's the context for a recent announcement by the leader of the PKK, that the group would be disarming—and very literally so, including a symbolic burning of their weapons in a city in northern Iraq, which was shared online—and they would be shifting their efforts from that of violent militarism and revolution to that of political dialogue and attempting to change the Turkish government from the inside.Turkish President Erdogan, for his part, has seemed happy to oblige these efforts and gestures, fulfilling his role by receiving delegates from the Turkish, pro-Kurd party, the DEM Party, and smilingly shaking that delegate's hand on camera, basically showing the world, and those who have played some kind of role in the militant effort against the Turkish government, that this is the way of things now, we're not fighting physically anymore, we're moving on to wearing suits and pushing for Kurdish rights within the existing governmental structures.The founder of the PKK, Abdullah Ocalan, got in on the action, as well, releasing a seven-minute video from prison, which was then broadcast by the PKK's official media distribution outlet, saying that the fighting is over. This was his first appearance on camera in 26 years, and he used it to say their effort paid off, the Kurds now have an officially recognized identity, and it's time to leverage that identity politically to move things in the right direction.Erdogan's other messages on the matter, to the Kurdish people, but also those who have long lived in fear of the PKK's mass-violence, have reinforced that sentiment, saying that the Kurds are officially recognized as a political entity, and that's how things would play out from this point forward—and this will be good for everyone. And both sides are saying that, over and over, because, well, child soldiers and suicide bombings and massacres conducted by both sides are really, really not good for anyone.By all indications, this has been a very carefully orchestrated dance by those on both sides of the conflict, which again, has been ongoing since 1978, and really picked up the pace and became continuous and ultra-violent, in the 1980s.There was an attempted peace process back in the 20-teens, but the effort, which included a temporary truce between 2013 and 2015, failed, following the murder of two Turkish police officers, the PKK initially claiming responsibility, but later denying they had any involvement. That led to an uptick in military actions by both groups against the other, and the truce collapsed.This new peace process began in 2024 and really took off in late-February of 2025, when that aforementioned message was broadcast by the PKK's leader from prison after lawmakers from the pro-Kurdish DEM Party worked to connect him and the Turkish government, and eventually helped negotiate the resulting mid-May of 2025 disarmament.Turkey's military leaders have said they will continue to launch strikes against PKK-affiliated groups that continue to operate in the region, and the PKK's disarmament announcement has been embraced by some such groups, while others, like the Syrian Democratic Forces, which is tied to the PKK, but not directly affiliated with them, have said this truce doesn't apply to them.Most governments, globally, have heralded this disarmament as a major victory for the world and Turkey in particular, though the response within Turkey, and in Kurdish areas in particular, has apparently been mixed, with some people assuming the Turkish government will backtrack and keep the DEM Party from accomplishing much of anything, and worrying about behind-the-scenes deals, including a reported agreement between Erdogan's government and the DEM Party to support Erdogan's desire to transform the Turkish government into a presidential system, which would grant him more direct control and power, while others are seemingly just happy to hear that the violence and fear might end.Also notable here is that a lot of Turkey's foreign policy has revolved around hobbling and hurting the PKK for decades, including Turkey's initial hindering of Sweden's accession to NATO, which was partly a means of getting other nations to give the Turkish government stuff they wanted, like upgraded military equipment, but was also a push against the Swedish government's seeming protection of people associated with the PKK, since Sweden's constitution allows people to hold all sorts of beliefs.Some analysts have speculated that this could change the geopolitics of the Middle East fundamentally, as Turkey has long been a regional power, but has been partly hobbled by its conflict with the PKK, and the easing or removal of that conflict could free them up to become more dominant, especially since Israel's recent clobbering of Iran seems to have dulled the Iranian government's shine as the de facto leader of many Muslim groups and governments in the area.It's an opportune time for Erdogan to grab more clout and influence, in other words, and that might have been part of the motivation to go along with the PKK's shift to politics: it frees him and his military up to engage in some adventurism and/or posturing further afield, which could then set Turkey up as the new center of Muslim influence, contra-the Saudis' more globalized version of the concept, militarily and economically. Turkey could become a huge center of geopolitical gravity in this part of the world, in other words, and that seems even more likely now that this disarmament has happened.It's still early days in this new seeming state of affairs, though, and there's a chance that the Turkish government's continued strikes on operating PKK affiliated groups could sever these new ties, but those involved seem to be cleaving to at least some optimism, even as many locals continue hold their breath and hope against hope that this time is different than previous attempts at peace.Show Noteshttps://www.pbs.org/newshour/world/heres-what-to-know-about-turkeys-decision-to-move-forward-with-swedens-bid-to-join-natohttps://en.wikipedia.org/wiki/2025_PKK%E2%80%93Turkey_peace_processhttps://en.wikipedia.org/wiki/2013%E2%80%932015_PKK%E2%80%93Turkey_peace_processhttps://carnegieendowment.org/emissary/2025/05/turkey-pkk-disarm-disband-impacts?lang=enhttps://www.middleeasteye.net/news/pkk-claims-deadly-suicide-bombing-turkish-police-stationhttps://web.archive.org/web/20161016064155/https://hrwf.eu/wp-content/uploads/2016/07/Child-soldiers-in-ISIS-PKK-Boko-Haram%E2%80%A6.pdfhttps://en.wikipedia.org/wiki/Kurdistan_Workers%27_Partyhttps://www.theguardian.com/world/video/2025/jul/11/kurdistan-workers-party-pkk-burn-weapons-in-disarming-ceremony-videohttps://www.aljazeera.com/news/2025/7/18/turkiye-pkk-analysis-recalibrates-politicshttps://time.com/7303236/erdogan-war-peace-kurds/https://www.aljazeera.com/news/2025/7/19/unidentified-drone-kills-pkk-member-injures-another-in-iraqhttps://www.reuters.com/world/middle-east/unidentified-drone-kills-pkk-member-injures-another-near-iraqs-sulaymaniyah-2025-07-19/https://www.aljazeera.com/video/inside-story/2025/7/11/why-has-the-pkk-ended-its-armed-strugglehttps://archive.is/20250718061819/https://www.haaretz.com/opinion/2025-07-17/ty-article-opinion/.premium/how-the-possible-end-to-turkeys-kurdish-problem-could-become-israels-turkey-problem/00000198-1794-dd64-abb9-bfb5dbf30000https://en.wikipedia.org/wiki/Kurdistanhttps://en.wikipedia.org/wiki/Kurdshttps://en.wikipedia.org/wiki/List_of_Kurdish_dynasties_and_countrieshttps://en.wikipedia.org/wiki/Early_Kurdish_nationalism This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit letsknowthings.substack.com/subscribe

In the cold vastness of space, where humanity's greatest achievement—the colonization of distant worlds—has drawn the attention of something ancient and impossibly powerful, a message arrives that will forever change the meaning of evolution itself: beings of godlike intelligence who view our species not as equals to be contacted, but as clay to be molded into forms that serve their incomprehensible purposes. Discover more TERRIFYING podcasts at http://eeriecast.com/   Follow Carman Carrion!    https://www.instagram.com/carmancarrion/?hl=en   https://twitter.com/CarmanCarrion   Subscribe to Spotify! https://open.spotify.com/show/0uiX155WEJnN7QVRfo3aQY   Please Review Us on iTunes! https://podcasts.apple.com/us/podcast/freaky-folklore/id1550361184   Music and sound effects used in the Freaky Folklore Podcast have or may have been provided/created by:  CO.AG: https://www.youtube.com/channel/UCcavSftXHgxLBWwLDm_bNvA Myuu: https://www.youtube.com/channel/UCiSKnkKCKAQVxMUWpZQobuQ Jinglepunks: https://jinglepunks.com/ Epidemic Sound: https://www.epidemicsound.com/ Kevin MacLeod: http://incompetech.com/ Dark Music: https://soundcloud.com/darknessprevailspodcast Soundstripe: https:// Learn more about your ad choices. Visit podcastchoices.com/adchoices

With the help of RATBAG's Mel O'Brien and Sam Andrews, we unpack the 2024 music video for Tomorrows Waterfall's Talking In Your Sleep - a song about someone who gets real chatty when they're having a nap. Hosted on Acast. See acast.com/privacy for more information.

INTERVIEW: Sola Rosa on Vinyl pressing of 'New Tomorrows' EP & being AOTW by Cass Harrop on Radio One 91FM Dunedin

Host Robin talks with Robert Isenberg about his latest collection of essays about cycling, Mile Markers. They also discuss past visions of the future, documentaries, and the Rockettes. In the Last Chapter they discuss: what are some of your favorite cycling books? Overdueing It is a project funded by the Rhode Island Office of Library and Information Services and is produced by library staff around the Ocean State. We are proud to be a resident partner of the Rhode Island Center for the Book. The views, thoughts, and opinions expressed are the speakers''' own and do not represent those of the Overdueing It podcast, its sponsor organizations, or any participants' place of employment. The content of Overdueing It episodes are the property of the individual creators, with permission for Overdueing It to share the content on their podcast feed in perpetuity. Any of the content from the Overdueing It podcast can not be reproduced without express written permission. Our logo was designed by Sarah Bouvier and our theme music is byNeura-Flow. Books Mile Markers by Robert Isenberg Century of Tomorrows by Glenn Adamson Six Walksby Ben Shattuck The Book Club for Troublesome Women by Marie Bostwick Becoming Spectacular by Jennifer Jones The Spectacular by Fiona Davis Two Wheels Good by Jody Rosen Cold Beer and Crocodiles by Roff Smith Cyclettes by Tree Abraham Bicycling with Butterflies by Sara Dykman  The Breakaway by Jennifer Weiner Media The White Lotus (2021- ) The Penguin Lessons (2024) Other Robert Isenberg Avon Cinema, Providence, RI Books on the Square, Providence, RI You Are Here Documentaries (Medium)

Host Robin talks with Robert Isenberg about his latest collection of essays about cycling, Mile Markers. They also discuss past visions of the future, documentaries, and the Rockettes. In the Last Chapter they discuss: what are some of your favorite cycling books? Overdueing It is a project funded by the Rhode Island Office of Library and Information Services and is produced by library staff around the Ocean State. We are proud to be a resident partner of the Rhode Island Center for the Book. The views, thoughts, and opinions expressed are the speakers''' own and do not represent those of the Overdueing It podcast, its sponsor organizations, or any participants' place of employment. The content of Overdueing It episodes are the property of the individual creators, with permission for Overdueing It to share the content on their podcast feed in perpetuity. Any of the content from the Overdueing It podcast can not be reproduced without express written permission. Our logo was designed by Sarah Bouvier and our theme music is byNeura-Flow. Books Mile Markers by Robert Isenberg Century of Tomorrows by Glenn Adamson Six Walksby Ben Shattuck The Book Club for Troublesome Women by Marie Bostwick Becoming Spectacular by Jennifer Jones The Spectacular by Fiona Davis Two Wheels Good by Jody Rosen Cold Beer and Crocodiles by Roff Smith Cyclettes by Tree Abraham Bicycling with Butterflies by Sara Dykman  The Breakaway by Jennifer Weiner Media The White Lotus (2021- ) The Penguin Lessons (2024) Other Robert Isenberg Avon Cinema, Providence, RI Books on the Square, Providence, RI You Are Here Documentaries (Medium)

As Greg prepares for his golf matchup against Scheim tomorrow he starts give off excuses in case he does lose.

More On Tomorrows NFL Draft. Jims Backpage

This Easter, may we learn to be at peace with our past, grateful for today, and trustful for our tomorrows.Invite and share this message with your family and friends and bless them with this great message. If you're new to Cornerstone and this is your first time watching us, we'd love to say “hello!” Just click on this url http://cornerstonesf.org/welcome to fill out our Welcome Card and one of our community members will follow up with you. Also if you are in need of prayer, don't hesitate to put in a prayer request at http://cornerstonesf.org/prayer----Song Credits:God You Are - We Are Messengers, feat. Josh BaldwinDarren Mulligan, Kyle Williams, Phil Wickham© Centricity Music Publishing | Mike Curb Music | Phil Wickham Music | Simply Global SongsHow Love Wins - Steven Curtis ChapmanBernie Herms and Nicole Nordeman© 2011 Birdwing Music (a div. of EMI Christian Music Publishing) Bernie Herms Music (Admin. by EMI Christian Music Publishing) Birdboy Songs (Admin. by EMI Christian Music Publishing) Emi Cmg Music (Admin. By EMI Christian Music Publishing).

https://www.amydebellis.com/Buy All Our Tomorrows here :https://www.clashbooks.com/new-products-2/amy-debellis-all-our-tomorrows-preorderGateway books The Magicians - Lev Grossman Sirens and Muses  - Antonia AngressRipe - Sarah Rose EtterBabel - R. F. KuangDonna Tart - Secret History Current reads Nothing Serious - Emily J Smith The Imposter series - Scott WesterfeldWe Could Be Rats -Emily Austin Sky Daddy - Kate Folk Desert Island Books Secret History - Donna TartAll's Well -  Mona AwardA Simple Plan - Scott Smith Dear Committee Members - Julie SchumacherCost - Roxana Robinson 

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INTERVIEW: Sola Rosa on recent EP 'New Tomorrows' by Zac Hoffman on Radio One 91FM Dunedin

Episode 300Guest: Amy DeBellisBook: All Our Tomorrows---This week on Salt Lake Dirt, I'm excited to welcome author Amy DeBellis to discuss her new novel All Our Tomorrows. Amy takes us on a journey through the lives of three distinct female characters, each grappling with their own struggles against the backdrop of a planet in crisis.We delve into Amy's writing process, exploring how a chance comment on Reddit and a thought-provoking nonfiction book inspired her to create a narrative that intertwines personal stories with broader existential themes.Amy shares her insights on the importance of empathy in storytelling and how she crafted distinct voices for each character, making them relatable even to readers from different backgrounds. We discuss the emotional weight of their journeys and the universal truths that resonate throughout the novel.Great book, great chat! Thanks for listening.Kyler---Episode Links: AmyDeBellis.com Purchase All Our Tomorrows Support Greenlight Bookstore Follow Amy on Instagram

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

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show.   Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are.   You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow   A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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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 theatres 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 cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre 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.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

Can we every truly 'go home again?' Can we ever revisit or recapture 'who we were' as kids? Join us for a conversation with author, William Lychack and his novel, Cargill Falls.

David Lynch's most frightening and abrasive movie leads to his most hopeful conclusion. It's part two of our discussion of INLAND EMPIRE (2006). PATREON-EXCLUSIVE EPISODE - https://www.patreon.com/posts/595-on-high-in-2-121440636

We pay tribute to the late, great David Lynch with a two-part discussion of his strangest, most abrasive, and arguably most innovative feature. We discuss how INLAND EMPIRE (2006) confounded expectations with its low-budget production, free-associative style, and startling use of digital video, and begin to unpacked its multilayered story. Join us on Patreon for an extra episode every week - https://www.patreon.com/michaelandus

01/19/2025 At Covenant Word Church in Key West FL.

Donald Vega was trained classically in piano in his native Nicaragua. He emigrated to the United States at age 14 and found a musical home with the Colburn School of Performing Arts (CSPA). He began his studies there in classical piano with Teresa de Jong Pombo and Dr. Louis Lepley. Vega started to learn the language of jazz from mentor Billy Higgins at The World Stage and continued at CSPA with Jeffrey Lavner, then later with bassist John Clayton at the University of Southern California. He went on to graduate from the Manhattan School of Music and The Juilliard School where he studied with piano great Kenny Barron, Phil Markowitz, and Gary Dial. Vega currently performs internationally as the pianist for world-renowned bassist Ron Carter's Golden Striker Trio with whom he has recorded several albums. Mr. Vega is also a professor at The Juilliard School and Hofstra University and sits on the board of BackCountry Jazz. This non-profit organization provides music education programs and performances to underprivileged youth.  Vega's debut album, Tomorrows, was released in 2008 to rave reviews. In his sophomore album, Spiritual Nature (Resonance Records, 2012), he was joined by the regal rhythm tandem of bassist Christian McBride and drummer Lewis Nash. Vega teamed up again with Lewis Nash on his third album, Concerning Monty, (Resonance Records, 2015) along with Hassan Shakur, the great bassist and former Monty Alexander band member, and long-time friend and Grammy-nominated artist, Anthony Wilson on guitar.  Donald recently finished recording his latest album, As I Travel (2023), with Lewis Nash on drums and John Patitucci on bass, featuring Luisito Quintero on percussion. 

"765874 - Unification" isn't just the return of William Shatner as James Kirk, it's also the return of Robin Curtis as Saavik and Gary Lockwood as Gary Mitchell. But what does it all mean, maman?We're talking about all of the OTOY/Roddenberry Archive shorts up to the latest, Unification, as well as the extended media that inspired the content from the shorts such as William Shatner's "Return" novels, the Marvel Star Trek: Early Voyages story that introduced the Well of Tomorrows and gave us Yeoman Colt's serial number (765874), Star Trek #400, and the novel "Vulcan Heart" as well as give our thoughts about this short and what it might mean.765874   https://youtu.be/Ng8qTIythnA765874 - Memory Wall  https://www.youtube.com/watch?v=fzeznWVQu5o765874 - Regeneration https://www.youtube.com/watch?v=_KXU2Ob8gYY765874 - Unification  https://youtu.be/mgOZFny7F50Hosts:David C. RobersonMatthew CarrollNote: This episode of Star Trek Universe continues Dave and Matt's ongoing journey discussing Star Trek as they have since the late1980s.Join Us:Site: http://startrekucast.comApple: http://bit.ly/StuCastSpotify: http://bit.ly/StarTrekUCastSpreaker: http://bit.ly/StuCastSpreaker

Welcome to the Scottish Watches Podcast Episode 623! Rich and the Studio Underd0g team are introducing the 3rd generation of the Series 1 Chronograph this Tuesday! Click here to read... The post Scottish Watches Podcast #623 : Chatting With Rich from Studio Underd0g About Tomorrows News appeared first on Scottish Watches.

Father Hudgins' homily: How Many Tomorrows?

Will Brinson, Sr. NFL Writer CBS Sports On Who Won The Trade Deadline. Aztec Wayne McKinney III Previews Tomorrows Opener Vs UCSD. UCSD Head Coach Eric Olen Talks With The Guys. Team Jon Vs Team Jim.

Will Brinson, Sr. NFL Writer CBS Sports On Who Won The Trade Deadline. Aztec Wayne McKinney III Previews Tomorrows Opener Vs UCSD. UCSD Head Coach Eric Olen Talks With The Guys. Team Jon Vs Team Jim.

Talk Sports 11.01.24 Hour 2: We check in with Kentucky fans before tomorrows game by Fanrun Radio

Kyle Glaser Joins The Show to Talk Game 4 And Preview Game 5. Chris Hodge From TakingVegas.com Goes Over The Weekends Best Bets. Team Jon Vs Team Jim For Sea World Howl-O-Scream Passes.

Suze reflects on what she and KT were doing on September 11, 2001 and how she helped families in the aftermath of the national tragedy.  This Suze story remind us of why we absolutely need to prepare today to protect ourselves and insure our families are taken care of, should something happen to us. Protect your financial future with the Must Have Docs: https://bit.ly/3Vq1V3GGet your savings going with Alliant Credit Union: https://bit.ly/3rg0YioGet Suze's special offers for podcast listeners at suzeorman.com/offerJoin Suze's Women & Money Community for FREE and ASK SUZE your questions which may just end up on the podcast. Download the app by following one of these links: CLICK HERE FOR APPLE: https://apple.co/2KcAHbH CLICK HERE FOR GOOGLE PLAY: https://bit.ly/3curfMISee omnystudio.com/listener for privacy information.

Sometimes, inspiration unfolds gradually over time, while other times it hits you instantly from the moment it arrives. Today's episode is the latter—it was sparked by, of all things, a Facebook post that popped up on my feed a few weeks ago. The post was a heartfelt "Happy Birthday" message to a lost loved one, written by a friend. The story itself is simple yet precious, but it's the message behind it—the title of this episode—that I really want to share with you today. It's a profound statement we should all consider embracing in our everyday lives, whether or not we're dealing with grief. But I'll admit, it will resonate even more deeply if you are. It's a powerful reminder to appreciate the important details in our lives that we often overlook so easily.

THEMOVE discusses the strength of UAE vs. the minimal support Jonas has at his disposal, Matteo Jorgensen can only do so much. Tomorrows stage looks to be even more difficult than todays. The guys also address the rumors circulating regarding Remco Evenepoel making a team change. KETONE-IQ: 30% off your first sub order + free 6 pack when you use the link: https://www.ketone.com/themove ZWIFT: Zwift Ride was just released and at $1299.99 is a fraction of the cost of other alternatives, so make sure you head to Zwift.com to pick yours up ASAP.  Zwift is also hosting THEMOVE Podcast rides throughout the Tour de France, so you can stay up to date with the conversation whilst getting in an easy-paced spin with other riders from all over the world. Join those rides at: https://www.zwift.com/events/tag/themove WAHOO: Wahoo's cycling products are trusted by the pro peloton. Now you can save 20% on select full-price products by using the coupon code THEMOVE2024 at checkout. During The Tour, go to https://www.wahoofitness.com/themove and enter THEMOVE2024 to save 20%. AG1: Try AG1 and get a FREE 1-year supply of Vitamin D3K2 AND 5 free AG1 Travel Packs with your first purchase at https://www.drinkAG1.com/tdf EKOI: Use the code THEMOVE to get $15 off any purchase of $150 made on the EKOI website until the end of July. Visit https://www.ekoi.com THE FEED: Get the Tour de France Pack. There are 11 products for $21. It's about 50% off and you get a Feed musette bag and a limited tour bottle Go to https://www.TheFeed.com Ventum: Listeners of The Move can save 20% off any Ventum bike using code TheMove20. Compete to win a Ventum NS1 road bike by playing Tour Trivia all race long — visit https://www.ventumracing.com/TheMove to answer today's question. Winner will be announced at the end of the Tour.

When acquiring players to your dynasty fantasy football roster, how much is too much to spend? Is Sam LaPorta worth Travis Kelce and a first-round pick? Shawn Siegele and Colm Kelly answer OT listener questions regarding dynasty strategy + their dynasty roster management challenges with FFPC cutdowns this weekend.  Timestamps: 0:00 Intro 2:00 FFPC Dynasty Cutdowns 13:00 Should you trade away Justin Jefferson? 17:00 Is Sam LaPorta the TE1 and should you trade away Travis Kelce? 26:00 Is having too many players from the same franchise a risk? - SLP, Amon Ra St Brown, Jahmyr Gibbs, and David Montgomery, 35:00 What should you do with a team past the perpetual reloading window? Go ALL IN on veteran players?  45:00 Outro RotoViz Rookie Guide Subscribe to the RotoViz YouTube Channel here! HOSTS RotoViz Radio Executive Producer Colm Kelly (@OvertimeIreland) RotoViz co-owner Shawn Siegele (@FF_Contrarian) SPONSORS BetterHelp - This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/ROTOVIZ and get on your way to being your best self. Underdog Fantasy – Get a 100% deposit match on your first deposit up to $100 when you sign up at Underdogfantasy.com using this link or the promo code ROTOVIZ. Listeners of RotoViz Radio can save 10% on a one-year RotoViz subscription by visiting RotoViz.com/podcast or by using the promotional code "rvradio2024" at the time of purchase. Gametime - Download the Gametime app, create an account, and use code ROTOVIZ for $20 off your first purchase. SHOW NOTES RotoViz Radio provides the power for RotoViz Overtime. Email: RotoVizRadio@gmail.com @RotoVizOvertime on Twitter Learn more about your ad choices. Visit podcastchoices.com/adchoices