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Motorists on Paris road can see the new multi-million dollar community center being built near Sylvan and Towne in northeast Columbia's Whitegate neighborhood, which has high poverty. United Community Builders is building the 22,500 square foot facility, which will be called the Beacon of Light. Senior Bishop and executive director Damian Dean and new development director Rochara Knight of United Community Builders joined host Fred Parry in-studio for the hour Saturday on 939 the Eagle's “CEO Roundtable” program. United Community Builders is an offshoot of United Community Cathedral church. Bishop Dean tells listeners that church's mission is to build and release capable people. He grew up in north St. Louis and came to Columbia to attend Mizzou. Ms. Knight is from Moberly, which is about 35 miles north of Columbia. Bishop Dean expects the Beacon of Light to open in early fall, weather permitting. He says the center's purpose will be to inspire and to educate people to achieve in life, adding that northeast Columbia has been a resource desert. The Whitegate neighborhood has many children, and there's no playground for two miles. He also credits donors for helping raise money for the center. “We will have a regulation-size high school gymnasium … basketball court. We're really thankful for (former Mizzou basketball star) Laurence Bowers and (former Shelter Insurance chief executive officer) Matt Moore and (former Columbia Insurance Group chief executive officer) Gary Thompson for really pushing us during the capital campaign to get a regulation-sized gym,” Bishop Dean tells listeners. He says the center will also have a community room for the public to use, adding that the center will be open Monday-Saturday. Bishop Dean also emphasizes the importance of respect for authority as well as the importance of integrity, honesty and a work ethic. He says United Community Builders gets its funding from individual donors, business owners and grants:
Steve & Ted in the Morning: 3/28/25 Complete Show - Steve is off today, but Ted and Jad have all the information you may need on a Friday.
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Hour 3 - News, sports, and much more on Steve and Ted in the Morning. Plus we wrap up today's show with business news from The Wichita Business Journal.
Podcast Episode 206: My Personal Experience Exploring East Jersey Old Town The Village© 2025 ISBN 978-976-97521-1-5 Hi and welcome to yet another enlightening episode of my podcast, listeners! I am Dr. William Anderson Gittens, D.D.coming to you from lovely Barbados. As a doctor of theology, author, podcaster, photojournalist, media arts specialist, and cultural theorist, I invite you to join me today as we embark on a fascinating tour of East Jersey's Olde Towne The Village—a vibrant tapestry woven with the threads of the 18th and 19th centuries. Together, we will uncover the architectural treasures of East Jersey Old Towne, where each building stands as a meticulously preserved relic, narrating the rich history of the Raritan Valley, including the storied Indian Queen Tavern.In this episode, I utilize a variety of lenses shaped by my multifaceted background—scholar, theologian, photojournalist, and cultural theorist—to craft a visual narrative that captures our rich cultural past. These lenses allow me to highlight cultural backgrounds, convey compelling narratives, and explore photographic artistry. It is through this approach that I seek to enhance my research obligations while increasing visibility around our shared historical narratives and structures.Podcast Episode 206: My Personal Experience Exploring East Jersey Old Town The Village© 2025 ISBN 978-976-97521-1-5 filmed by Dr. William Anderson Gittens,D.D. of Devgro Media Arts Services®2015Bridgetown BarbadosI wish to express gratitude to the Creator for guiding me and my late parents, Charles and Ira Gittens, for their guidance and creative expression. Thanks to those who assisted me along this journey namely my Beloved wife Magnola Gittens, my Brothers Shurland, Charles, Ricardo, Arnott, Stephen, Sisters Emerald, Marcella, Cheryl, Cousins Joy Mayers, Kevin and Ernest Mayers, Donna Archer, Avis Dyer, Jackie Clarke, Uncles Clifford, Leonard Mayers, David Bruce, and Collin Rock. My children Laron and Lisa. Well-wishers Mr.and Mrs. Andrew Platizky, Mr. Matthew Sutton, Mr.& Mrs. Gordon Alleyne, Mr. Juan Arroyo, Mr. and Mrs. David Lavine, Mrs. Ellen Gordon, Dr.Nicholas Gordon, the late Dr.Joseph Drew, Merline Mayers, Mr. and Mrs. Trevor Millington, Rev. Dr. Scoffield Eversley and Rev. Dr. Margaret Eversley, Rev. & Mrs. Donavon Shoemaker, Rev. & Mrs. Clayton Springer, Ms. Geraldine Davis, Rev.Carl and Rev Angie Dixon, Mr. David Brathwaite,Mrs. Zenda Phillips,Mrs. Gloria Rock, Rev.Pauline Harewood, Mr. and Mrs. Stewart Russell, Mrs. Shirley Smith, Mr.and Mr. David Trotman, Mr. and Mrs. Felton Ince, Mr. and Mrs. David Brathwaite, Mr.and Mrs. Ryan Miller Mr.and Mrs. Neilo Mascoll, Support the showCultural Factors Influence Academic Achievements© 2024 ISBN978-976-97385-7-7 A_MEMOIR_OF_Dr_William_Anderson_Gittens_D_D_2024_ISBNISBN978_976_97385_0_8 Academic.edu. Chief of Audio Visual Aids Officer Mr. Michael Owen Chief of Audio Visual Aids Officer Mr. Selwyn Belle Commissioner of Police Mr. Orville Durant Dr. William Anderson Gittens, D.D En.wikipedia.org/wiki/Lifelong_learning Hackett Philip Media Resource Development Officer Holder, B,Anthony Episcopal Priest, https://brainly.com/question/36353773 https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-19 https://en.wikipedia.org/wiki/Lifelong_learning#cite_note-:2-18 https://independent.academia.edu/WilliamGittens/Books https://scholar.google.com/scholar?hl=en&as_sdt=0%2C5&q=william+anderson+gittens+barbados&oq=william+anderson+gittens https://www.academia.edu/123754463/ https://www.buzzsprout.com/429292/episodes. https://www.youtube.com/@williamandersongittens1714. Mr.Greene, Rupert
Jessica and Jenn send all their love and prayers out to everyone Los Angeles affected by the fires this week. Resources to help out those impacted are listed below. This week we welcome back the wonderful, Joe Towne! Joe is a Los Angeles based performer, award-winning writer, director, and teacher. As the CEO and Co-Founder of The Performer's Mindset, Joe works with performers to elevate their craft, with corporate professionals to bring Mindset practices into the workplace, and with creatives of all types, preparing them show up at their best in life's big moments. As the creator and host of The Better Podcast, Joe explores the nuances of creative practice and leads conversations that help us individually - and collectively - develop healthier relationships with our mind, our craft, and the world. In this episode, Jess, Jenn start off by updating everyone on the resources we know of and can reiterate to our listeners affected by the fires. Then we dive in with Joe on how we want to reflect over the last year and the best ways of moving forwarding the New Year after a difficult year for a lot of us. Great ways to close out 2024 with a fresh mindset for 2025 Regulate, Recover, Review , Renew How to sustain motivation and stay consistent all throughout the year Victimhood and how we approach it and overcome Looking for the positive and retraining our brains to be optimistic even if our tendencies are pessimistic. Being grateful for even the smallest things Episode Resources: A Cause for Entertainment Donation Page California Fire Foundation Pasadena Humane Society California Community Foundation Los Angeles Regional Foodbank The Center for Disaster Philanthropy American Red Cross Los Angeles Region World Central Kitchen Global Empowerment Mission AirBnb Boys & Girls Club of Malibu Direct Relief Ventura County Community Foundation Joe's IMDB Joe's Instagram The Performer's Mindset Website The Performer's Mindset Instagram ──────────────────────────── Stay Tuned with Tipsy Casting on IG Watch the Tipsy Casting YouTube Channel Follow Jessica & Follow Jenn Learn More About Jess & Jenn's Casting Journeys Get Casting Life Away Merch here! Visit the official Tipsy Casting Website
Welcome to Gene-ology, where we explore the earliest TV writing works of Gene Roddenberry, the creator of Star Trek! Gene-ology tackles a tense adventure for Gene's 1960 series Wrangler, where one man has decided that "A Time For Hanging" is now - and isn't willing to listen to any voices of reason before executing Pitcairn, tackling multiple meaty topics in a single half-hour show in a very Gene Roddenberry way. Join us as we dig into the Roddenberry archives and discuss how Gene's early writing shaped the groundbreaking worlds he would later bring to our screens. Hosted by Earl Green and Ashley Thomas Guest starring Cody Banning as Pitcairn, Matthew Comegys as Cunningham, Vic Sage as Billy-John, David Takechi as Towne, Alan Simonis as Cooper, and Earl Green as Hank
ABC070, part 3 Laura Matilda Towne was an abolitionist who studied homeopathic medicine and became an instructor for recently freed enslaved Africans on the islands off South Carolina. It turned into her life's work for the next 30+ years.
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A 14-year-old girl fatally stabbed Monday on the near east side was identified as Anabel Trujillo, a freshman at Arsenal Tech High School. Long-neglected apartments on Indianapolis's far east side, called Towne and Terrace, will be razed. The parents of a 10-year-old boy who died by suicide earlier this year have filed a wrongful death lawsuit against the fourth grader's school district, Greenfield Central Community School Corporation. The term “excited delirium” has been used as a diagnosis to describe people who die suddenly in police custody – some argue it's used by police to justify excessive force. Want to go deeper on the stories you hear on WFYI News Now? Visit wfyi.org/news and follow us on social media to get comprehensive analysis and local news daily. Subscribe to WFYI News Now wherever you get your podcasts. Today's episode of WFYI News Now was produced by Drew Daudelin, Zach Bundy and Abriana Herron, with support from News Director Sarah Neal-Estes.
Welcome back to The Private Equity Podcast, by Raw Selection! In this episode, Alex is joined by Andrew Towne, a partner at Olympus Pines and a five-time world record holder. Andrew shares his journey from private equity to breaking world records, including his impressive mountain climbing feats and insights into the private equity industry. Join us as we dive into the mindset and strategies of this remarkable private equity leader.Breakdown:[00:00] Andrew shares his experience climbing Aconcagua during a deadly season.[00:19] Introduction to Andrew's investment focus in the American car wash industry and his world records.[01:53] Andrew discusses his career journey, starting in international relations and transitioning to private equity.[02:18] The common mistake private equity firms make: neglecting operations and transformation.[02:45] Why portfolio operations are essential for unlocking value in competitive deals.[03:14] Examples of operational improvements in revenue and cost management within portfolio companies.[05:06] Andrew's consulting background at Boston Consulting Group and his shift into private equity.[06:07] How living abroad in countries like Germany and Kenya shaped Andrew's worldview.[07:34] Moving from consulting to private equity: Andrew wanted to own decisions and manage risk.[09:31] Lessons from world travel: people are more similar than different across cultures.[12:36] A customer's comment at a car wash illustrates how people view different roles in society.[15:05] Why Andrew and his team chose to invest in the evolving American car wash industry.[16:26] Technological innovations and automation driving growth in the car wash business.[17:49] How Andrew's car washes use advanced technology to ensure customer satisfaction.[18:48] Balancing customer service with profitability in the car wash sector.[20:15] The fragmented nature of the car wash industry creates growth opportunities.[21:44] Challenges in building new car washes and scaling operations.[22:25] Andrew's journey from overcoming childhood obesity to breaking world records.[24:47] How rowing at Yale taught Andrew to push through mental barriers and trust himself.[26:09] After completing the Seven Summits, Andrew turned to ocean rowing and set world records.[28:04] Stories from his expeditions, including surviving a deadly earthquake at Everest base camp.[29:02] The story behind Andrew's world-record row from South America to Antarctica.[31:28] Andrew's approach to confronting fears and mental challenges in everyday life.[35:21] Closing remarks from Alex and Andrew summarizing their discussion on private equity, personal growth, and world records. You can connect with Andrew Towne on LinkedIn by visiting his profile here. To be added to the book waitlist, you can email alex.offer@raw-selection.comThank you for tuning in!To get the newest Private Equity episodes, you can subscribe on iTunes or Spotify here.Lastly, if you have any feedback on the podcast or want to reach out to Alex with any questions, send an email to alex.rawlings@raw-selection.com
On today's show: 1. Mount Pleasant Towne Centre - https://mtpleasanttownecentre.com 2. Mount Pleasant Towne Centre's Annual Tree Lighting Ceremony Returns Nov. 23 - https://holycitysinner.com/entertainment/mount-pleasant-towne-centres-annual-tree-lighting-ceremony-/ This episode's music is by Tyler Boone (tylerboonemusic.com). The episode was produced by LMC Soundsystem.
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Today the X Millennial Man is presenting an episode from High Heels and Politics, The Last Living Mall - The Story of The Kenwood Towne Centre.The day of the mini-mall is over. They are closing all over the country and being redeveloped into new mixed use properties. All the malls are dead, except for one. The Kenwood Towne Centre.Join High Heels and Politics as they look at the past, present and future of the Kenwood Towne Centre.Download the episode for free.
Ashley is an adoptee, birth mother, and an adoptive parent. After going through foster care and being adopted by a Baptist family at the age of 4, she saw a lot of trauma in many forms. She was surrounded by adoptees and always knew adoption was special, so when she found out she was pregnant, she knew that adoption was the only answer. While there was plenty of drama that 9 months, she was able to choose a great family and was comfortable with her decision. She says that most of her memories have faded with time due to mental trauma. Ashley went through postpartum depression and the darkest moments of her life and lost herself for a few years. Then, 11 years after she gave her child up for adoption, she was offered the opportunity to adopt her child back. Ashley adopted her son back on June 21, 2024. The most beautiful day in her family's history book. Connect With Melissa: -Email Melissa here: mindyourownkarma@gmail.com -Click here for the Mind Your Own Karma's Website -Click here for Somatic Mindful Guided Imagery -Find Mind Your Own Karma on Facebook -Find Mind Your Own Karma on Instagram -Find Mind Your Own Karma on YouTube -Click here for a comprehensive list of adoptee/adoptee trauma informed practitioners. Dial 988 for the Suicide and Crisis Lifeline. ________ WANT TO BE A GUEST? (click to email mindyourownkarma@gmail.com) Mind Your Own Karma–The Adoption Chronicles Podcast educates listeners on the realities of adoption through the stories of adoptees, birth parents, and adoptive parents. We delve into their journeys, exploring identity, the emotional impacts of adoption, and the complexities that are involved when a child is removed from their biology. We also tackle tough topics like transracial adoption and adoption ethics, featuring experts and advocates. By sharing these diverse perspectives we hope to not only educate the world, but also give hope and healing to those deeply affected by adoption trauma. ***This podcast's mission is on adoption education. If you have an expertise that you think would be beneficial to anyone touched by adoption and would like to be on the podcast, get in touch with me. #adopt #adoption #adoptee #adopteevoices #adopteesspeak #adoptionpodcast #adopteepodcast #mindyourownkarma #primalwound #adopted #adoptionjourney #thefog #adoptionfog #comeoutofthefog #hypnotherapy #jayshetty #hypnosis #somatic #attachmentstyles #subsconscioushealing #subconscious #whatwasimadefor #adoptiveparents #birthmother #whoami #constellationconversation #firesideadoptees #grief #emotionalpain #adoptionawareness #birthfamily #biologicalfamily #dna #adoptiontrauma #emotionaltrauma #primalwound #emotionalhealing #findmyfamily #smgi #bekind #eatingdisorders #hypnotherapy #somatichealing #somaticexperiencing #listenable #listenablestory #reunion #adopteereunion #ancestry #ancestrydna #23andme #adoptionstory #dna #reactiveattachment #rda #lifecoach #therapy #traumainformed --- Support this podcast: https://podcasters.spotify.com/pod/show/melissa-ann-brunetti/support
On Friday, August 9, banjo player and composer Alison Brown will play the Towne Crier Café in Beacon, New York. The concert is, in part, a celebration of the release of Brown's Grammy nominated 1990 debut album “Simple Pleasures.”Alison Brown is the co-founder of the roots music label Compass Records Group - which will release the reissue of “Simple Pleasures” on streaming platforms and other music formats - including its first vinyl pressing. The Grammy Award winner's appreciation for and adroitness with her instrument has helped her rise to the top of her field and she is highly sought after as a collaborator across genres.Alison currently serves on the Board of the Nashville Chapter of the Recording Academy, on the adjunct faculty of Vanderbilt's Blair School of Music and as co-chair of the Steve Martin Banjo Prize.
After SEG bought up the Shops at south Towne, it got Dave and Debbie thinking, when was the last time you shopped at a mall? Are they dying or are they adapting? Brennan Platt, Professor of Economics at Brigham Young University, joins the show to break down the latest on where shopping malls stand in America.
The Smith Entertainment Group has moved forward with its purchase of The Shops at South Towne. SEG purchased the NHL's Arizona Coyote's franchise and plan to put a hockey facility in The Shops. Debbie and Taylor talk with Sandy Mayor, Monica Zoltanski, about how the deal went down and what's next for SEG.
In this episode, Brian Brodersen & Nick Cady speak with Pastor Wesley Towne. Wesley has planted two churches; he currently pastors Bayside Church in Davis, California, and he is the founder of Better Days, an organization seeking to bring hope and resources to those struggling with personal suffering and mental health. In this discussion, Wesley shares with the story of struggling with anxiety as a young pastor, and how he found help from the Scriptures and from other Christians, as well as how he is now using what he learned to help others. As a Calvary Chapel network, CGN is a global family of churches working together to proclaim the gospel, make disciples, and plant churches. We would love to hear your feedback on these episodes; you can email us at CGN@calvarychapel.com
The Kenwood Towne Center started as a strip mall put up on a variety of different farm plots. As the suburbs grew, so did the strip mall. Even today as the mini mall is going the way of the dinosaurs, The Kenwood Towne Centre is thriving.Join Mary Anne and her guests Helen Kugel, Neil Bortz, and David Jacoby, as they talk about the building of the shopping center, how it grew, and what it means today and going forward.Download the episode for free.
Stephanie Dorsey is the CEO and owner of Willow Blooms in Highland, Indiana. She is an experienced professional in sports, food, beverage and hospitality industries, previously working for organizations such as the Cleveland Indians baseball team. She acquired her Masters degree in Business Administration from Cleveland State University.GreatNews.Life and Podcast Host Jenny Craig-Brown have transformed the All About the Girls annual event into a podcast! These monthly episodes feature incredible women giving the audience all the insight about what makes them happy, successful, and motivational. New episodes launch on Sundays to make sure to start your week on a positive note! The All About the Girls Podcast is brought to you by GreatNews.Life
In episode 7 of their discussion on albums from 1994, Somewhere in Time Podcast welcomes Naomi from Dope Nostalgia Podcast to discuss the album Throwing Copper by Live. This is the second collaboration of Somewhere in Time and Dope Nostalgia. In a previous Dope Nostalgia episode, Naomi welcomed Joe, Tim, and Eric to talk about Faith No More. Find a link to that podcast below. In this episode, Somewhere in Time explore the history of the band, how they discovered the band, and run through all of the tracks on Throwing Copper, which include some of the biggest hits of the 1990's. Visit Somewhere in Time's Website: https://somewhereintimepodcast.com Follow Somewhere in Time Podcast on Social Media: www.facebook.com/somewhereintimepodcast www.twitter.com/SITMusicPodcast www.instagram.com/somewhereintimepodcast www.youtube.com/somewhereintimepodcast TikTok - Somewhere in Time Podcast Follow Dope Nostalgia: Facebook - https://www.facebook.com/dopenostalgia/ Instagram - @dope_nostalgia Dope Nostalgia's previous collaboration with Somewhere in Time - Episode 203 - Faith No More | Dope Nostalgia (podbean.com)
In episode 1697, Jack and Miles are joined by comedian and improvisor from Mega and Get It to Dutch: A Screenwriter's Journey, Greg Hess, to discuss… Trump Fears JACKED UP Joe Biden... Will Probably Bail On The Debate, “Squid Game, But ‘Merica” Might Be Coming to Netflix and more! Trump Fears JACKED UP Joe Biden... Will Probably Bail On The Debate The Insanely Idiotic Ways Trump Is Prepping for the Biden Debate “Squid Game, But ‘Merica” Might Be Coming to Netflix Robert Towne Says David Fincher's ‘Chinatown' Prequel Series Is Written & Ready To Go (But Pssst, He Pivoted To ‘Squid Game') People Are All Saying The Same Thing Amid Rumours That Squid Game Is Getting An English-Language Remake Netflix CEO shuts down rumours of American ‘Squid Game' remake ‘Squid Game: The Challenge' Renewed for Season 2 at Netflix, Casting Now Open Netflix turns to South Korean writers and crews as Hollywood strikes. But they feel exploited too LISTEN: Mere Surmise by OsvaldoSee omnystudio.com/listener for privacy information.
Tara Proskiw. Owner and CEO of Towne & Countree Cabinets in Edmonton Alberta. Hopping on the energy bus with Tara, I discovered that Tara stands behind the statement of “Let every moment in your kitchen be joyous”. What I received from my conversation with Tara, was so much deeper than that. I believe that it was more about let every moment in your life be joyous, and how can I help? From her back story of being a court stenographer, and the adventures that it took her on, and from the lessons her parents her gave her, Tara gets to better the pond to Women Entrepreneur Groups, Rotary Clubs, and Jr. Achievement Groups, and well to be honest, to everyone that she comes in to contact with. Hop on the energy bus with Tara and I and have a listen. Ladies and Gentlemen, Tara Proskiw. Website: https://towneco.com LinkedIn: https://www.linkedin.com/in/tara-proskiw-2642b778/ E-mail: tara@towneco.com
In this week's Herrimanology, we ended up being on location at Fort Herriman Towne Days! Mayor Palmer talks about the event, as well as the rules about door-to-door salespersons, how the City Council advocates for residents in other government agency boards, and a few notes on current construction projects.
Have you ever considered your mindset in relation to the way you show up in the world? We all have moments in life we must prepare for in order to show up as our best selves. Frankly, I'd like to show up as my best self daily, not just in moments circled in red on my calendar. Joe Towne has mastered ways to navigate those daily circumstances and big events and shares his take on preparing for unpredictable moments, training mindset skills, understanding your inner critic, flow state, growth mindset vs fixed mindset + more. This episode was originally recorded in 2023. Get 10% off my favorite organic juice - Suja. Use code HEREFORIT10 for 10% off your purchase at sujaorganic.com Midday Squares are my favorite way to fight hanger. Head over to middaysquares.com via this link for 15% off your entire order. Produced by Erica Muller Music by Eric Welton Special thanks to 58 Ember Media Copyright 2024 Erica Muller Please note this episode may contain paid endorsements and advertisements for products and services. Individuals on the show may have a direct or indirect financial interest in products or services referred to in this episode.
Councilmember Hodges recaps the Rodeo (and his unique apparel), previews Fort Herriman Towne Days, gives props to the summer musical production, and describes why the City invests resources into these events.
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. 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. 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
In this latest episode, TalkDoc, Meredith and Teighlor embark on a deep dive into the intricate world of deception within human communication and relationships. Unveiling the staggering statistics that reveal an average of three lies every ten minutes in a conversation, the hosts unravel the multifaceted layers of lying. From harmless white lies to intentional omissions and complex equivocations, the discussion uncovers the spectrum of lies we encounter daily, shedding light on the ethical dilemmas they pose. Through personal stories and compelling research, the hosts illuminate how lies often serve dual purposes—shielding feelings while also serving the liar's self-interests. Tune in as we dissect the myriad reasons behind lying, dissecting its impact on relationships, and navigating the delicate balance between honesty and maintaining social harmony. This episode promises an engaging dialogue that challenges our understanding of truth and deception in the fabric of human connection. Music by epidemic sound. SHOW NOTES: Experts : Adler and Towne, Bavelas et al., Metts Statistics on Lying - University of Wisconsin-La Crosse https://www.uwlax.edu/currents/how-often-do-people-lie/ Lying Less Linked to Better Health by American Psy. Association https://www.apa.org/news/press/releases/2012/08/lying-less The Brain Adapts to Dishonesty by Garrett et al. (2016) https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5238933/ Study on Sexual Rejection Messages by Metts, Cupach, and Imahori: https://www.tandfonline.com/doi/abs/10.1080/10570319209374398 Resources : Adler and Towne's Book: Looking Out, Looking In
While we prepare for Season 3, we thought it might be fun to bring you some first-rate stories that probably haven't seen the light of day in ages. We're going to refer to these episodes as our "Found Fiction" episodes. These gems have been unearthed from the electronic vaults of Project Gutenberg - one of our favorite literary resources. They're stories written by writers who were popular in their day but who sadly, over time, have fallen into obscurity. Support the Show.
The Towne Crier, founded by Phil Ciganer in the early 70s, has a long history staging folk acts in the Hudson Valley. As a young man, Phil prowled the folk scene in Greenwich Village, a wellspring of American music during the 60s. He initially based his venue in Beekman and has moved twice, most recently to Beacon 11 years ago. Among the first musicians to play the Towne Crier was Pete Seeger, and this interview contains some great lore about Beacon's favorite late native son. Speaking of which, the Crier will host its annual celebration of Pete's life on May 3, the anniversary of his birth. This year's event will be hosted by David Bernz, a dear friend and collaborator Pete's who has authored a new book called “Pete Seeger - Chopping Wood, Thoughts and Stories of a Legendary American Folksinger." This episode is sponsored by Healthy In Color, a purveyor of delicious and healthful salads, breakfast options, wraps, warm bowls located at 259 Main Street. Photo by Michael Isabell.
It's the third day since Richard Therpston III holed himself up in the Towne Hall and things are getting tense. Support LRR: http://patreon.com/loadingreadyrun Merch: https://store.loadingreadyrun.com Discord: https://discord.gg/lrr Twitch: https://www.twitch.tv/loadingreadyrun Check out our other channels! Video Games: http://youtube.com/LRRVG Tabletop: http://youtube.com/LRRTT Magic the Gathering: http://youtube.com/LRRMTG Comedy: http://youtube.com/LoadingReadyRun Streams: http://youtube.com/LoadingReadyLive #LRR #qwerpline #comedy
Long before "clean beauty" became a buzzword, Jane Iredale observed how conventional makeup could negatively impact skin health. Jane Iredale is a brand known for its clean, skin-loving mineral makeup and skincare! Let's Connect! * Instagram https://www.instagram.com/premierderm/* Facebook https://www.facebook.com/premierdermatology* Website: https://premierderm.netPremier Dermatology is located in Bentonville, Fayetteville, & Bella Vista, Arkansas!
The first time I heard this tune was on Ricky Jay's collection of songs about cards and card players. Subsequently, I heard Steve Earle's story about how, when he was playing some dive for 4 or 5 people, Townes Van Zandt stumbles in and starts heckling him. It's Outlaw Country lore: Townes demands Earle play Wabash Cannonball- repeatedly. Finally, Steve demurs, claiming not to know the song, but lays this - Towne's own lyrically impossible gauntlet, line perfect, on his drunken hero, and thus begins a legendary friendship. The words fly by so fast here that it's hard to follow the narrative, which upon some study, reveals a poignant tale of a royal pair of Anthropomorphic, married playing cards doing battle through the avatars of Mud and Gold - a couple of hapless gambling addicts. The overall message being that winning and losing are matters of destiny, dictated by the fates, and beyond our control, so you might as well keep raising the stakes. Townes, an acknowledged tortured genius whose untimely death at age 52, left behind a sumptuous body of work, kept raising his stakes, living his addict's life as though his demise was pre-ordained. Even with this song, which he claimed was not written by himself, but by a “giant pencil in the sky”. Is it odd that Mr Mudd and Mr Gold would qualify as a “sunny” song? Not to me. Maybe that's because I loved Ricky Jay's winking panache, and he introduced it to me. Plus, Townes's break-neck torrent of lyrical showmanship is a thrill ride, and I smile as my brain endeavors to keep up with the writer's masterstrokes. Also, a good, ripping yarn will always bring a smile.
Please join us Right Now, March 11, 2024 at 11:00AM PST as Actor, Director, Voice Pat Towne, and Actress, Producer Dina Morrone join host Ron Brewington on "The Actor's Choice."
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Founding member of Blind Melon, guitarist Rogers Stevens, joins to talk his latest project Towne & Stevens. Rogers also shares heartfelt stories about the late Shannon Hoon, the future for Blind Melon, fond memories of touring with Guns N' Roses, and more! More info: https://www.instagram.com/towneandstevens/ https://www.instagram.com/blindmelonband/ Towne & Stevens - "Please Hold the Line" video - https://youtu.be/vGExvfsdV5c?si=EySttYXK0B4ZEj-O https://linktr.ee/appetitefordistortion
On today's show: 1. Mount Pleasant Towne Centre - https://mtpleasanttownecentre.com This episode's music is by Tyler Boone (tylerboonemusic.com). The episode was produced by LMC Soundsystem.
Each story started with a phone call from an insurance executive, calling on Johnny to investigate an unusual claim. 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. 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 one episode 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. Follow our new True Stories interview show 1001 True Stories with Brian Tremblay (links below) ANDROID USERS- 1001 True Stories with Brian Tremblay https://open.spotify.com/episode/1EOZTL42pg0szYdYV7mwMC?si=SCPAOiSgQiyo0ZSO_OFDyw&nd=1&dlsi=012b3f28347743d5 1001's Best of Jack London at Spotify https://open.spotify.com/show/2HzkpdKeWJgUU9rbx3NqgF 1001 Stories From The Old West at Spotify - https://open.spotify.com/show/0c2fc0cGwJBcPfyC8NWNTw 1001 Radio Crime Solvers at Spotify-(Sun & Wed) https://open.spotify.com/show/0UAUS12lnS2063PWK9CZ37 1001 Radio Days (Now all Variety, Sun & Wed) at Spotify https://open.spotify.com/show/5jyc4nVoe00xoOxrhyAa8H 1001 Classic Short Stories & Tales at Spotify https://open.spotify.com/show/6rzDb5uFdOhfw5X6P5lkWn 1001 Heroes, Legends, Histories & Mysteries at Spotify https://open.spotify.com/show/6rO7HELtRcGfV48UeP8aFQ 1001 Sherlock Holmes Stories & The Best of Sir Arthur Conan Doyle at Spotify https://open.spotify.com/show/4dIgYvBwZVTN5ewF0JPaTK 1001 History's Best Storytellers (Now Playing Archives Only: https://open.spotify.com/show/3QyZ1u4f9OLb9O32KX6Ghr 1001 Ghost Stories & Tales of the Macabre on Spotify (Playing Archives Only) https://podcasts.apple.com/us/podcast/1001-ghost-stories-tales-of-the-macabre/id1516332327 APPLE USERS New! 1001 True Stories with Brian Tremblay https://podcasts.apple.com/us/podcast/1001-true-stories-with-brian-tremblay/id1726451725 Catch 1001 Stories From The Old West- https://podcasts.apple.com/us/podcast/1001-stories-from-the-old-west/id1613213865 Catch 1001's Best of Jack London- https://podcasts.apple.com/us/podcast/1001-best-of-jack-london/id1656939169 Catch 1001 Radio Crime Solvers- https://podcasts.apple.com/us/podcast/1001-radio-crime-solvers/id1657397371 Catch 1001 Heroes, Legends, Histories & Mysteries on Apple https://podcasts.apple.com/us/podcast/1001-heroes-legends-histories-mysteries-podcast/id956154836?mt=2 Catch 1001 Classic Short Stories at Apple Podcast https://podcasts.apple.com/us/podcast/1001-classic-short-stories-tales/id1078098622 Catch 1001 Stories for the Road at Apple Podcast now: https://podcasts.apple.com/us/podcast/1001-stories-for-the-road/id1227478901 Enjoy 1001 Greatest Love Stories on Apple Devices here: https://podcasts.apple.com/us/podcast/1001-greatest-love-stories/id1485751552 Catch 1001 RADIO DAYS now at Apple iTunes! https://itunes.apple.com/us/podcast/1001-radio-days/id1405045413?mt=2 Enjoy 1001 Sherlock Holmes Stories and The Best of Arthur Conan Doyle https://podcasts.apple.com/us/podcast/1001-sherlock-holmes-stories-best-sir-arthur-conan/id1534427618 Learn more about your ad choices. Visit podcastchoices.com/adchoices
A little delayed but still here, it's a different kind of Let's Taco ‘Bout this week. I am joined by John Boe, Andrew Steinhouse, and Cameron Rhode, director and actors from the upcoming Deathtrap, a production taking the stage at the Olde Towne Dinner Theatre later this month. We talk about their theater journeys, creative influences, and the movies that kept them entertained. We also discuss — without spoilers — the play, what makes it so compelling, John's directorial vision, and why Andrew and Cameron, friends in real life, like playing adversaries on stage. Deathtrap open on February 16th and runs through March 17th. Tickets and information are available at OTDT.org. Follow Fat Dude Digs Flicks across social media:Facebook - Fat Dude Digs FlicksInstagram - FatDudeDigsFlicksTwitter - FatDudeFlicksTikTok - FatDudeDigsFlicksLetterboxd - FatDudeFlicksSubscribe to this podcast on Apple Podcasts, Spotify, Amazon Music, Goodpods, or wherever you get your podcasts. Search for Fat Dude Digs Flicks and click on that subscribe button. Please take a second to rate and review the show, while you're at it!Subscribe to the Fat Dude Digs Flicks YouTube channel and send a thumbs up or two my way!If you'd like to contact me for any recommendations, questions, comments, concerns, or to be a future guest, you can send an email to FatDudeDigsFlicks@gmail.com.And now the call to action:The fight for Women's Reproductive Rights continues. If you are interested in supporting a woman's right to choose, please look into the following organizations:Planned ParenthoodCenter for Reproductive RightsPathfinder InternationalNational Women's Law CenterNARAL Pro-Choice AmericaReligious Coalition for Reproductive ChoiceEquality NowEvery Mother CountsGlobal Fund For WomenGun violence in the United States has reached epidemic proportions. Join the fight for better gun laws and regulations by looking into or contributing to:Coalition to Stop Gun ViolenceEverytown for Gun SafetyThe Brady CampaignNewtown Action AllianceMoms Demand Action for Gun Sense in AmericaAmericans for Responsible SolutionsLaw Center to Prevent Gun ViolenceHelp protect, defend, and support our LGBTQ+ brothers, sisters, and non-binary spiritual siblings by checking out:GLAADTrans LifelineThe Trevor ProjectThe Center of Excellence for Transgender HealthGender DiversityHuman Rights CampainIt Gets Better ProjectThe Transgender Law CenterFORGEGLSENThe Matthew Shepard FoundationPride FoundationTransgender Legal Defense and Education FundTrans Women of Color CollectiveTrans Youth Equality FoundationNational Center For Transgender EqualityTrue Colors FundThe Trans Culture District Support the show
Welcome ROGERS STEVENS, guitarist/co-founder of Blind Melon - as well as Towne & Stevens - to Episode 073! A dream come true for your host, an unabashed lifelong Blind Melon fanatic. Rogers joins the pod from his cozy home studio just outside Philadelphia for a 90-min conversation about his career - past, present, and future. A peek inside Rogers' process making records with Nathan Towne, and Stevens finally finding his singing voice later in life. Working with Rene Lopez again, long after Extra Virgin and The Tender Trio. Growing up a rocker in rural Mississippi. Embarking on the storied sojourn from the Deep South to the Sunset Strip, arriving at the peak of glam-rock hair-band decadence. Rogers pulls up in a Cadillac, sittin' in the back, opens the passenger door and invites us on a wacky, wild, reflective ride through the galaxies of yesteryear in the Blind Melon wayback machine. Buckle up fam, this ep is my love letter to anyone who ever treasured this beautiful band, and those of us who still grieve deep for the dearly-departed Shannon Hoon. 3:15 - a word from our sponsor IAMAVL 6:15 - shoutout COLD BLOODED DESIGNS 7:30 - The Upful Update 10:15 - Introducing ROGERS STEVENS + B.Getz's BLIND MELON rabbithole 31:20 - conversation w/ Rogers [97 min] 2:08:30 - Afterglow & Reflections, + Vibe Junkie JAM Background: In 1990, 23-year-old Shannon Hoon first met Rogers Stevens in Los Angeles after taking a bus from Lafayette, Indiana to SoCal. A year or so earlier, Stevens and bassist Brad Smith had relocated to L.A. from West Point, Mississippi, where they graduated high school and worked on the kill floor of a local slaughterhouse. Stevens connected with Shannon through a mutual friend in Hollywood; Hoon - hometown homies with W. Axl Rose and already making waves on the West Coast - swiftly reeled off a couple of tunes for Rogers. Immediately taken with Hoon's voice and mesmerized by his presence, they decided - on the spot - to form a band together. Blind Melon consisted of Stevens, Hoon, Smith, drummer Glen Graham, and guitarist Christopher Thorn. A promising, multi-hued, idiosyncratic brotherhood that was sadly short-lived. Dreamy single “No Rain” blasted the band into superstardom pretty quickly, and their self-titled debut went triple platinum in the tailwind of the huge hit. In less than five years, the quintet released a strong pair of studio albums, while touring at a furious clip. They appeared on the Late Show with David Letterman, SNL, MTV, Canada's MuchMusic, and threw down a legendary set at Woodstock '94. Headlined clubs and theaters, opened stadiums for The Rolling Stones, supported Soundgarden, Pearl Jam, Lenny Kravitz, Neil Young, and numerous others. After the monster success of their debut CD, Blind Melon set about refining/redefining their unicorn sound, as evidenced on sensational sophomore record Soup. Critically-panned and a commercial disappointment at the time, over the course of nearly three decades Soup has proven a celebrated fan favorite. A gumbo of compositions and performances that transcend era and genre, Soup is a magnificent work of high art in the Crescent City voodoo tradition. When Hoon died suddenly from a drug overdose, on tour in New Orleans in October 1995, the band was evolving rather organically, though still finding their stride. A posthumous collection of B-sides and outtakes, the gripping Nico (named for Shannon's daughter Nico Blue Hoon - only a few months old when he tragically transitioned) was released in 1996, an emotional nod towards what could've - and should've - been. These days, Rogers Stevens is an attorney who lives in the Philly suburbs with his family. He's currently workshopping songs with Nathan for the next Towne & Stevens record. I offer the deepest of bows & eternal thanks to Rogers Stevens for his time, energy, the music and memories. Rest easy, Shannon Hoon & Long Live Blind Melon! Vibe Junkie JAM Blind Melon - "Time" (1995 > 1992 > Woodstock '94) sourced from the film Letters From a Porcupine Letters From a Porcupine film [1996] All I Can Say [2019 documentary] An Angel On One Shoulder, Devil On The Other by Greg Prado [2008 book] Shannon by Greg Prado [2021 book] MELONcholy & the Infinite Sadness by Chris Heath [article in Details/Nico CD-Rom - 1996] Please visit our awesome sponsor iamavl for the latest free Asheville livestreams! Upful LIFE 2023: Favorite Records & More! Reviews, Purchase Links, Playlists EMAIL the SHOW PLEASE LEAVE A REVIEW on Apple Podcasts Listen on Spotify Theme Song: "Mazel Tov"- CALVIN VALENTINE
Songs include Tal Shia, Alta Vista and Mr. C T
What stands between you and your dream life, an actual impediment or just the byproducts of overthinking? In this episode, the magical Amanda Towne joins us to teach us how to release resistance and live a life of joy, abundance, and freedom. Amanda is a former Accountant turned into a Transformational Coach, Law of Attraction (LOA), and Rapid Transformational Therapy (RTT) Practitioner. Her logical, analytical, and linear mind couldn't have enough the moment she learned about Yoga, Hypnotherapy, and Natural Language Processing (NLP), and she felt urged to dive deeper, meeting the work of Abraham Hicks, Joe Dispenza, and Bashar in the process. Today, she's committed to using her coaching to change people's lives. Throughout our conversation, you'll hear about Amanda's "previous life" as an accountant and why she decided to change her life and take the leap of faith into coaching, LOA, and RTT. Amanda also shares her thoughts on channeling, explains what it is and how it works, and how inner child and inner being work can help us through virtually any challenge. Additionally, Amanda walks us through Abraham Hicks's Law of Attraction's five steps, talks about the non-physical being Bashar, who speaks through the channel Darryl Anka, and much more. Tune in to episode 15 of RADitude and let Amanda teach you how to let go of resistance, embrace your full potential, and create your formula to start Liv-nRAD and Loving Contagiously.In This Episode, You Will Learn:About Amanda's background and decision to become a coach (2:00)The thousand doors Yoga opened for Amanda (7:10)What is a channel? (13:00)How do inner child and inner being sessions work? (17:20)Amanda talks about her Law of Attraction work (23:50)Connect with Amanda:WebsiteInstagramYouTubeFacebookJoin Amanda's Law of Attraction GroupLet's connect!WebsiteContact UsLinkedInInstagramFacebookTwitter Hosted on Acast. See acast.com/privacy for more information.
"Forget it, Jake. It's Chinatown." For Episode 295, Brandon and David finish off CineNation's Private Investigator month with CHINATOWN. Listen as they discuss Robert Towne's writing process, the reason the film's director of photography was fired, and how the Los Angeles Lakers caused one of the biggest fights on set. Opening Banter (00:00:10) Recap of the Private Investigator Genre (00:05:42) Intro to Chinatown (00:13:32) How Chinatown Got to Production (00:24:02) Favorite Scenes (00:47:53) On Set Life - (01:13:04) Aftermath: Release and Legacy (01:22:16) What Worked and What Didn't (01:29:53) Film Facts (01:34:47) Awards (01:37:54) Final Questions (01:43:00) Final Questions for the P.I. Genre (01:47:19) Preview for Next Week (01:55:20) Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com
You are not the only one who has ever been depressed, anxious, or stressed; everyone has. Pastor, speaker and podcast host Wesley Towne says that his broken life led to his calling. He loves Jesus, was in the Word and in prayer daily, yet even with the core principles of discipleship in place, he found himself paralyzed by anxiety and depression, and he wasn't alone. Searching for mentors he could confide in, Towne discovered that leaders, entrepreneurs, CEO's and influencers all shared his same struggles, accompanied by the same shame. Cloaked in silence, and exacerbated by cultural and digital pressures, suffering only grew. Convinced that the narrative had to change, Towne began equipping churches to address mental health openly and honestly, facilitating pastors and leaders to bring into the light the suffering from the shadows. Join Pastor Towne as he shares how you can secure and share healthy mental disciplines for yourself and others.For Show Notes & Episode Details: https://theinfluencerspodcast.orgGet more inspirational content all week…FACEBOOK: https://facebook.com/theinfluencerspodcastofficialINSTAGRAM: https://instagram.com/theinfluencerspodcastofficial/TWITTER: https://twitter.com/hearinfluencersYOUTUBE: https://youtube.com/@TheInfluencersPodcastLearn more about Wesley Towne and the ministry of Better Days at https://betterdaysfmly.co
Charleston, South Carolina is the best city in the world and one of our country's most desirable places to live. From the history & culture, to the beaches & shopping, to the restaurants & real estate... Charleston has something for everyone! Our mission at Lively Charleston is to tell the stories of the amazing people, places, and businesses in our city. In this Lively Charleston Podcast episode, we're sitting down with Kathi Herrmann, Marketing Director of Mount Pleasant Towne Centre. Kathi shares stories of her own career path, the development of Mount Pleasant Towne Centre, and all the amazing upcoming events leading into the 25th anniversary of the shopping center. Instagram: @shopmptc Facebook: @shopmptc Website: mtpleasanttownecentre.com If you'd like to watch our episodes rather than listen, check out Lively Charleston on YouTube! See this episode HERE. Make sure to LIKE & SUBSCRIBE so you never miss an episode! And follow us on Instagram: @livelycharleston
LOW-KEY ALERT! This episode includes a spoiler about “The Good Place!” OK, where we were? Ah, yes. Mary Anne gets deep into sewing and needlework and starts a sewing club for kids. It's hard to believe she has time for this given how much work she's doing for poor Mrs. Towne. It almost seems like Moral OCD to Esme, so we talk about that! Emily talks about sissies for a bit and Anne has a bunch of nuggets, including renaming “California Girls.” Also, a BSC Big 5!
Joe Towne is a Los Angeles based performer, award-winning writer, director, and teacher. For 20 years, he's coached business professionals, athletes, and actors - some of whom are selling that product you just bought or starring in that movie you Netflixed last night. As an actor, Joe has worked with Jennifer Love Hewitt, Hilary Swank, Rebel Wilson, and he most recently starred as the lead in The Art of Christmas. He's worked as an audition and acting coach and teacher at one of the top private acting studios in Hollywood, where he co-created their audition technique program. As the CEO and Co-Founder of The Performer's Mindset, Joe works with performers to elevate their craft, with corporate professionals to bring Mindset practices into the workplace, and with creatives of all types, preparing them show up at their best in life's big moments. As the creator and host of The Better Podcast, Joe explores the nuances of creative practice and leads conversations that help us individually - and collectively - develop healthier relationships with our mind, our craft, and the world. In this episode, Jess, Jenn and Joe cover all their bases talking about what to do with the downtime during the strike. How to prepare for future challenges and finding balance in our lives. How Joe was exposed to the arts in high school His experience auditioning for the la Jay Binder Studying film and psychology at USC Performing at the Edinburgh Fringe Festival Choosing to focus on a career in mindset coaching Developing confidence and mental toughness through a process and practice Warner Loughlin asked Joe Towne to develop an audition program Preparing for challenges by practicing for a live stakes environment in life, and as they relate to self-tapes Building dependencies on things without a flexibility mindset Downside to self-taping from the casting perspective Industry resetting through the strike, and refocusing on quality over quantity Investing in people or taking advantage of people The difference between a positive mindset and a toxically positive mindset Kobe Bryant's journey and how it has inspired Joe Towne Checking in with yourself on a daily basis Episode Resources: Joe's IMDB Joe's Instagram The Performer's Mindset Website The Performer's Mindset Instagram ──────────────────────────── Stay Tuned with Tipsy Casting on IG Watch the Tipsy Casting YouTube Channel Follow Jessica & Follow Jenn Learn More About Jess & Jenn's Casting Journeys Get Casting Life Away Merch here! Visit the official Tipsy Casting Website and join our newsletter to stay up to date with all the Tipsy Casting news! --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipsycastingpodcast/message
Join Aaron and Brian as they tackle one of the hardest topics facing Christians and the church today: depression. In this honest and illuminating episode, they sit down with pastor Wesley Towne who has spent years ministering to those struggling with mental illness. This episode was recorded shortly after the tragic loss of Pastor Jared Wilson, bringing the topics of depression and struggle into sharp focus. Wesley shares openly about his own journey, helping remove some of the stigma that prevents many Christians from facing mental health issues. Aaron, Brian and Wesley tackle some tough questions with compassion: What does depression really look like for believers? How has the church both helped and hindered those struggling? And ultimately, what hope can we find in Jesus for those in the midst of these battles? This episode pulls no punches, offering wisdom and insight from someone who has walked this path. We pray Wesley's transparency and perspective provides both comfort and challenge - reminding us that in sharing our struggles, we find the healing we seek in community. Join us for this honest encounter with a subject that affects so many. --- Send in a voice message: https://podcasters.spotify.com/pod/show/goodlion/message
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