Podcasts about Vice president

Confirmation hearings begin today for President-elect Donald Trump's cabinet. With only six days until Inauguration Day, lawmakers are hopeful some nominations will be confirmed before then. Trump's pick for Secretary of Defense, former FOX News host Pete Hegseth, is kicking off the week of hearings and is expected to receive pushback from Senate Democrats. Senator Roger Marshall (R-KS) joins the Rundown to share his optimism about confirming the President-elect's cabinet nominees and the GOP's policy agenda. President Biden addressed the nation on Tuesday, touting his foreign policy achievements, from ending the United States' involvement in Afghanistan to strengthening alliances in the South Pacific. Critics have come out against the claims, pointing out the loss of life during the withdrawal from Afghanistan and the escalation of conflicts in the Middle East and Ukraine. Former deputy national security advisor to President Trump and Vice President of the Institute for National Security and Foreign Policy at The Heritage Foundation, Victoria Coates, joins the Rundown to take a look back at the Biden administration's foreign policy initiatives, how they impacted the Middle East, and what lasting effect the policies will have on the globe. Plus, commentary from host of The Will Cain Show, Will Cain. Photo Credit: AP Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, Joel Rosenberg, Chris Mitchell, and Daniel Cohen explore the critical events of 2024 and their impact on the future. We'll discuss Israel's face-off with Iran, the fall of Hezbollah's leadership, Trump's reelection, and how these shape U.S.-Israeli relations. The episode also highlights the rise of Christianity in Iran, declining trust in media, and important biblical prophecies. Hear personal stories, prayers for Gaza, and insights into Israel's spiritual awakening and the challenges for persecuted Christians. Join us for an eye-opening look at what lies ahead for the epicenter of global events. (00:00) 2024's challenges: Middle East turmoil, future uncertainties.(07:32) Hezbollah threat diminished by Israel-Iran conflict.(14:05) Prophetic significance: geopolitical shifts involving nations.(20:49) 66% of Israelis supported Trump over Harris.(23:08 Christians in Syria need support amid peril.(29:46) Huckabee praised for faith, influence, and Israel connections.(33:55) US support for Ukraine influences global ally trust.(39:39) Gaza Christians escape; Israelis seek spiritual answers.(45:53) Turkey's Erdogan threatens Israel, comparing Netanyahu to Hitler.(51:19) Expectations unclear; watching Trump and geopolitical events closely.(58:25) Twelve hostages were held; communion was shared in tunnels.(01:00:44) Opportunity for evangelicals to show love to Jews. Learn more about The Joshua Fund: JoshuaFund.comMake a tax-deductible donation: Donate | The Joshua FundStock Media provided by DimmySad / Pond5 Verse of the Day Psalm 23:1. The Lord is my shepherd. I shall not want. Prayer Pray for President-elect Trump and Vice President-elect Vance that they will be filled with wisdom, led by the Holy Spirit, to navigate the complex issues they will face as they take office. Pray for the leaders, the believers, and all the people In the epicenter that they will be encouraged despite the turbulence in 2024 Related Episodes:Hope for 2024 while looking back on 2023 #150The Abraham Accords, peace deals, and prosperity #113WWhat'sBehind the Most Talked About Speech of 2024 #249Hope for 2025 While Looking Back at 2024 #248 Links for Reference https://www.joshuafund.com/learn/latest-news/join-us-on-our-alaska-cruise Donate a generous monthly gift to The Joshua Fund to bless Israel and Her Neighbors now and for the long haul. Become an Epicenter Ally today! Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

The West Michigan Whitecaps have played for more than three decades in Grand Rapids, about a half hour from Lake Michigan. Guests include: Jim Jarecki, Vice President and GM, West Michigan Whitecaps Jason Klein, Brandiose, brandiose.com Kaitie Janecke-Soltesz, Naturalist, LinkedIn Dan Simon, Studio Simon: www.studiosimon.net, Insta @studio_simon Find the Baseball By Design podcast online: Instagram @baseballbydesign Threads @baseballbydesign Bluesky @baseballbydesign.bsky.social linktr.ee/BaseballByDesign Baseball By Design is a member of the Curved Brim Media Network.

After months of delays, New York State Supreme Court Justice Juan Merchan finally sentenced president-elect Donald Trump in his criminal hush money case Friday. Merchan ruled Trump's conviction must be upheld, but he did not order the president-elect to serve any jail time. In D.C., the U.S. Supreme Court seemed inclined to side with the federal government over a law to ban TikTok or force its sale, something Trump once supported but now opposes. Jay Willis, editor-in-chief of the legal website Balls and Strikes, breaks down the latest legal goings on.And in headlines: California lawmakers sought to ease fears that Trump could block federal aid to help the state recover from the deadly L.A. fires, Special Counsel Jack Smith resigned from his post, and Vice President-elect JD Vance says he's pro-pardon for some Jan. 6 rioters.Show Notes:Check out Balls and Strikes – https://ballsandstrikes.org/Support victims of the fire – votesaveamerica.com/reliefSubscribe to the What A Day Newsletter – https://tinyurl.com/3kk4nyz8What A Day – YouTube – https://www.youtube.com/@whatadaypodcastFollow us on Instagram – https://www.instagram.com/crookedmedia/For a transcript of this episode, please visit crooked.com/whataday

This episode emphasizes the critical difference between tax planning and tax preparation, illustrating how strategic planning can lead to significant tax savings over a lifetime. Throughout the conversation, we explore essential insights on why relying solely on CPAs may not be enough, the importance of proactive financial coordination, and when to utilize tax strategies for optimal retirement planning.• Defining tax planning versus tax preparation • Real-life story illustrating CPA limitations • Importance of holistic financial planning • The cauliflower analogy for tax strategy • Benefits of Roth conversions and tax gain harvesting • Encouraging early retirement for tax flexibility • Proactive vs. reactive financial advisory approachesCreate Your Custom Early Retirement Strategy HereGet access to the same software I use for my clients and join the Early Retirement Academy here Ari Taublieb, CFP ®, MBA is the Vice President of Root Financial Partners and a Fiduciary Financial Planner specializing in helping clients retire early with confidence.

Episode 508 - Jason Perkins, Allagash Brewing Co. Happy Monday, Thieves! We've got an old friend on the show this week in Jason Perkins of Allagash Brewing. Jason is the Brewmaster and Vice President of Brewing Operations (encompassing the departments of Warehouse/Supply Chain, Production, Packaging and Quality) at Allagash and has been a part of Allagash since 1999. He currently sits on the board of the Brewers Association, American Malt & Barley Association, and Allagash Wilderness Waterway Foundation, and is actively involved with the Hop Quality Group. He is the Chair of the Brewers Association's Technical Committee, a former board member of the Master Brewers Association of the Americas-New England as well as the Maine Brewers' Guild—and is the recipient of the 2016 Russell Schehrer Award for Innovation in Craft Brewing. Tune in and let us know what you think!***As always, you can email your questions, complaints, whimpers, or whines to us at stealthisbeerpodcast@gmail.com. We read everything we get and we'll try to respond as quickly as we can. If not online, then on air. And THANKS! You can subscribe to STB on iTunes and PLEASE LEAVE US A REVIEW!!! Co-hosts: Augie Carton & John Holl Producer: Justin Kennedy Engineer: Brian Casse Music: "Abstract Concepts - What Up in the Streets" by Black Ant.

Paula Whyman joins Let's Talk Memoir for a conversation about getting out of our comfort zone,  her attempt to restore native meadows in the foothills of the Blue Ridge Mountains, becoming obsessed with subjects and deep diving, writing about science and nature, controlling and selecting details for impact, being attentive to what readers need, writing tangentially, the need for deadlines, when your editor calls you a meanderer, leaning into exploration and not shutting ourselves down, allowing our writing to reflect the way our minds work, and her new memoir Bad Naturalist.   Also in this episode: -jumping from fiction to nonfiction -talking with experts -reading work aloud   Books mentioned in this episode: The Leaving Season by Kelly McMasters H is for Hawk by Helen Macdonald Late Migrations by Margaret Renkl A Buzz in the Meadow by Dave Goulson The Boys of My Youth by Jo Ann Beard The Sweet Life in Paris by David Lebovitz The Cost of Living by Deborah Levy  Things I Don't Want to Know by Deborah Levy  Real Estate by Deborah Levy    Paula Whyman's new book, Bad Naturalist: One Woman's Ecological Education on a Wild Virginia Mountaintop, is forthcoming from Timber Press/Hachette Book Group in January 2025. It's a blend of memoir, natural history, and conservation science, a chronicle of her attempts to restore retired farmland to natural habitat and what she discovered along the way. Her first book, the linked short story collection You May See a Stranger, won praise from The New Yorker and a starred review in Publishers Weekly, and won the Towson Prize for Literature. Her stories have appeared in journals including McSweeney's Quarterly, Virginia Quarterly Review, Ploughshares, The Hudson Review, and The Southampton Review. Her fiction was selected for the anthology Writes of Passage: Coming-of-Age Stories and Memoirs from The Hudson Review. Her nonfiction has been featured on NPR, and in the Washington Post, The American Scholar, and The Rumpus. She is co-founder and editor in chief of the literary journal Scoundrel Time.   Whyman has taught in writers-in-schools programs through the Pen/Faulkner Foundation in Washington, DC, and the Hudson Review in Harlem and the Bronx, New York. Her fiction is part of the curriculum at The Young Women's Leadership School in Harlem.   Whyman's work has been supported by fellowships from MacDowell, Yaddo, The Studios of Key West, and VCCA. She was a Tennessee Williams Scholar in Fiction at the Sewanee Writers Conference. She served two terms as Vice President of the MacDowell Fellows Executive Committee.   Whyman is the recipient of grants from the Maryland State Arts Council (MSAC) and the Arts and Humanities Council of Montgomery County. She was awarded an MSAC Creativity Grant and 2023 and 2024 Oak Spring Garden Foundation residencies and grants to support her work on Bad Naturalist.  Connect with Paula: Website: paulawhyman.com Instagram: @paulawhymanauthor Bluesky: @paulawhym  Mastodon: @paulawhyman@writing.exchange  – Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, Poets & Writers, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories.  She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and teaches memoir through the University of Washington's Online Continuum Program and also independently. She launched Let's Talk Memoir in 2022, lives in Seattle with her family of people and dogs, and is at work on her next book. More about Ronit: https://ronitplank.com Subscribe to Ronit's Substack: https://substack.com/@ronitplank Follow Ronit: https://www.instagram.com/ronitplank/ https://www.facebook.com/RonitPlank https://bsky.app/profile/ronitplank.bsky.social   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Comprehensive Advance Care Planning (CACP) supports individuals in understanding and sharing their values and goals for medical care at the end of life. Kerri Petrin, Vice President and Head of Operations at Aledade Plus, joins us to explore how the CACP program allows patients and their loved ones to have guided, personalized conversations with clinical facilitators and generate legal documents so that patients and their care teams can make health care decisions that align with the patients' values. We are also joined by Marissa McNichols, who shares insights into her role as a CACP facilitator, especially the importance of having open-ended conversations that include family members, allowing everyone the opportunity to ask questions and make decisions outside of a crisis moment. Tune in to learn more about how CACP is transforming end-of-life care planning, ensuring alignment with patient values and reducing unwanted, unnecessary care. Connect with us at acoshow@aledade.com or visit the Aledade Newsroom

⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠It's YOUR time to #EdUp In this episode, brought to YOU by the ⁠⁠InsightsEDU⁠⁠ 2025 conference & Ellucian LIVE 2025 YOUR guest is ⁠⁠Dr. Jayson Boyers, Executive Vice President, Business Model Transformation, Core Education YOUR host is ⁠⁠Dr. Joe Sallustio with special co-host Dr. Emily Barnes, AI Strategist  How can institutions leverage AI beyond the classroom? What is the value lens structure & how does it help institutions focus their resources? Why is intentional decision-making crucial for college sustainability? How can colleges maintain distinctiveness while staying relevant? What role should technology awareness play in presidential leadership? How can value-based budgeting help transform institutional outcomes? Listen in to #EdUp Do YOU want to accelerate YOUR professional development? Do YOU want to get exclusive early access to ad-free episodes, extended episodes, bonus episodes, original content, invites to special events, & much more? Then ⁠⁠⁠⁠⁠⁠BECOME A SUBSCRIBER TODAY⁠⁠ - $19.99/month or $199.99/year (Save 17%)! Want to get YOUR organization to pay for YOUR subscription? Email ⁠⁠⁠EdUp@edupexperience.com Thank YOU so much for tuning in. Join us on the next episode for YOUR time to EdUp! Connect with YOUR EdUp Team - ⁠⁠⁠⁠⁠⁠⁠⁠⁠Elvin Freytes⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠Dr. Joe Sallustio⁠⁠⁠⁠ ● Join YOUR EdUp community at ⁠⁠⁠⁠⁠⁠⁠⁠⁠The EdUp Experience⁠⁠⁠⁠⁠⁠⁠⁠⁠! We make education YOUR business!

On today's podcast episode, we discuss how shopping will get even more social, how brands will be fighting their way into your messaging apps, and more. Tune in to the conversation with Senior Director of Podcasts and host Marcus Johnson, Vice President and Principal Analyst Jasmine Enberg and Senior Analyst Minda Smiley. Listen everywhere and watch on YouTube and Spotify.   Follow us on Instagram at: https://www.instagram.com/emarketer/ For sponsorship opportunities contact us: advertising@emarketer.com For more information visit: https://www.emarketer.com/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com  For a transcript of this episode click here: https://www.emarketer.com/content/podcast-behind-numbers-social-creator-economy-trends-2025-shopping-getting © 2025 EMARKETER

In this episode, Michael White, MD, Executive Vice President and Chief Clinical Officer at Valleywise Health, discusses the health system's growth, achievements in patient safety, and focus on expanding access to care in the rapidly growing Phoenix area. He also shares insights into the organization's strategies for workforce recruitment, employee satisfaction, and preparing for the challenges of an evolving healthcare landscape.

In this episode, Kevin Manemann, Executive Vice President and Chief Integration Officer, Clinical Enterprise, City of Hope, shares the organization's achievements, including its top-five national ranking in cancer care, and discusses ambitious goals for 2025, such as expanding access to clinical trials and opening new cancer centers. He also addresses challenges like the rising cost of care and the importance of leadership in driving impact across communities.

Tara "Blitzy" Blitzer Benson '93 brings her signature humor, sharp insights, and favorite Cornell memories to the podcast! From her days as an enthusiastic social chair to her impressive career as Vice President and General Counsel at Proscia, a cutting-edge digital pathology company, Tara's story is as inspiring as it is fun. She raised two Cornellians, one starting next fall, and she shares her unique perspective as both an alum and a parent. Oh, and as a college town bartender.Get ready for sage advice for Cornell parents and tales of Slope Days, Santas, and life with incredible Cornell connections!LinkedIn: Tara Blitzer BensonNot sponsored by or affiliated with Cornell University

In this episode, TXOGA President Todd Staples and Shana Joyce, Vice President of Government andRegulatory Affairs, discuss the upcoming start of the 89th Legislative Session, which takes place onTuesday, January 14. In addition, they highlight Todd's personal experiences as a former member of theTexas House and Senate, as well as what to expect and key priorities for the 140-day session.--Texas Tribune: Texas 2024 General Election ResultsKEYE-TV: What to know ahead of the start of the 89th legislative session

Episode 119: Grab the Ultimate Ad Script right HERE - https://join.digitaltrailblazer.com/ultimate-ad-scriptAI has changed the game for SEO and ranking your website in Google search. Many business owners who were getting their traffic and exposure through organic search have now found that their search traffic has declined significantly over the past 6-12 months.This has many people asking, “is SEO dead??Like many marketing strategies before it (email, webinars, etc), SEO isn't dead, it's just changing. And if you want to succeed, your business needs to change with it.In this episode, SEO expert, Steve Scott, gives us the most recent updates on how AI, ChatGPT, and other artificial intelligence services have changed the SEO game. And then we delve into what's working right now to get seen online and the SEO strategies he's using to rank websites at the top of Google search in 2025.About Steve Scott: Steve is your go-to expert for all things SEO. He's not about selling gimmicks or quick fixes. His mission is to demystify SEO, and share his wealth of knowledge with you. He's spent over 25 years cracking the SEO code, helping businesses and individuals achieve top Google rankings and drive real results.Since 1997, Steve has spent his life focused on the world of Search Engine Optimization and Digital Marketing. He is the founder of the Tampa and New York SEO Training Academy's which provide SEO Training, Consulting and Digital Marketing Services to companies around the nation.Steve also serves as Vice President of the Search Engine Academy, a global network of SEO educators that teach live in-person workshops around the world.  As chairman of the Academy's Education Committee, Steve helps determine what will be taught and helps to create the material that is used by the Academy's network of trainers.And now, since 2024, Steve is proud to bring all of his years of experience and dedication to SEO and to training to his latest venture with Steve Scott's SEO All-Stars a "Do It Yourself" living resource for understanding how to do SEO for yourself or your business.Get Free Access to Steve's “Internal Linking” Online Course: https://dtpodcast.stevescottseo.com/Connect with Steve Scott: https://stevescottseo.com https://www.facebook.com/SteveScottSEO https://www.instagram.com/stevescottseo/ https://x.com/SteveScottSEO https://www.linkedin.com/in/stevescottseo/ https://www.linkedin.com/company/steve-scott-seo/ https://www.meetup.com/SEO-Training-Tampa/Grab the Ultimate Ad Script right HERE - https://join.digitaltrailblazer.com/ultimate-ad-script✅ Connect With Us:Website - https://DigitalTrailblazer.comFacebook - https://www.facebook.com/digitaltrailblazer/TikTok: https://www.tiktok.com/@digitaltrailblazerTwitter: https://twitter.com/DgtlTrailblazerInstagram: https://www.instagram.com/DigitalTrailblazer

Non-Human The Rendlesham Forest UFO Incidents: Forty-Two Years of Denialtells the hugely complicated story of what is now considered to be the second most famous UFO case in history after Roswell in 1947. Gary Heseltine is a former police detective and UFO investigator and researcher. He has used his skills to re-investigate the case literally from day one after the events had taken place. With over five years of research, he has examined virtually everything ever published about the case, and in the process has discovered a wealth of material. Much of which has not featured widely in the public domain, and he lays out the 'true context' around it for you, the public to read.In addition, he has collected explosive new witness testimony from many of the military personnel who were involved in the various incidents that took place, both in the forest, and on the bases in the last days of December 1980. He has also obtained amazing new military testimony from a previously unknown witness that is presented in the book for the very first time. Non-Human also delves deep into the murky 'politics' world of the Rendlesham Forest Incident, and presents information that suggests that the narrative of the case may have been 'controlled' by a small number of people for over a quarter of a century. The author also makes the argument, that both the military and governments of the UK and the US, have downplayed the true significance of the case since it became known. Non-Human lays out the best evidence for the public to see collectively for the very first time. Let the evidence fall where it falls.BioGary Heseltine is the founder and editor of UFO Truth Magazine and is based in the UK. Born in 1960, he spent 6 years in the Royal Air Force Police (1983-89) before joining the British Transport Police in 1989. He went on to complete an almost 24 year career before retiring early in 2013 to follow his passion for researching UFOs.For most of his police service he served as a Detective Constable, working on all manner of enquiries including murder, manslaughter and rape. He became an Advanced police interviewer of witnesses and suspects, and in that specialist role he was involved in the 2005, London Bombings terrorist enquiry, where he interviewed a number of first responding BTP officers, to three of the four crime scenes.In 2010 he was awarded the PRG Disclosure Award in Washington D.C. for his work with police officers, and in 2012 he was presented with the EXO Politics Great Britain award for his research.He then appeared at the prestigious 2013 Citizen Hearings, at the National Press Club in Washington D.C. USA, speaking on behalf of police officers worldwide.As one of nine researchers he gave testimony before the Brazilian Senate in June 2022, where he stated that he believed some UFO/UAP events were likely to be extraterrestrial or non-human in origin. Gary is also the Vice President of ICER (International Coalition for Extraterrestrial Research), an international NGO comprising scientists, academics and leading UAP researchers with national representatives in 30 countries.Amazon https://rb.gy/8oz1wwww.ufotruthmagazine.co.ukwww.prufospolicedatabase.co.uk https://www.pastliveshypnosis.co.uk/https://www.patreon.com/alienufopodcast

The Wisconsin Agribusiness Classic has a new home - the Kalahari Resort in WI Dells. Stephanie Hoff finds out about the venue change from the new executive director of WABA, Grace Howe. Warmer weather is on the way later this week according to Stu Muck. The warmer weather is making ice fishing a challenge this year in Wisconsin. Ben Jarboe finds out about safety details with Jake Holsclaw from the Wisconsin Department of Natural Resources. 2025 is bringing renewed interest in dairy as a power food! Rachel Kerr, Vice President of Brand Marketing with Dairy Farmers of Wisconsin joins Pam Jahnke to share the excitement. There's more interest in cheese both domestically and internationally, that's keeping Wisconsin cheesemakers busy! Paid for by Dairy Farmers of Wisconsin.See omnystudio.com/listener for privacy information.

We speak with Craig Patterson, Senior Vice President of Global Channels at Aryaka Networks, where he leads the company's channel strategy worldwide, enabling alignment across partner sales and marketing teams and programs in North America, Europe, Africa and the Middle East (EMEA) and Asia-Pacific (APAC). Patterson joined Aryaka Networks as Channel Chief and Vice President of Sales - Americas in September 2021 where he led go-to-market strategies within the agent, reseller and distribution channels in North America, including the launch of the Aryaka Accelerate Global Partner Program. Prior to Aryaka, Patterson was the West Division Vice President for Lumen's indirect channel. In this role, he led all sales and revenue strategy for a $1 billion organization within the Lumen Channel Partner Program and managed more than 100 sales professionals. Before joining Lumen, Patterson was a founding member of the Level 3 Channel Partner Program, where he grew revenue from $0 to $500 million over 15 yearsAryaka has an increasing focus on channels in the APAC region with a commitment and investment in the region in terms of expanding the Aryaka team and partner recruitment. Aryaka have recently hired two senior additions to the team in Hong Kong and Singapore, to gain increased traction in the regional with partners and customers. Aryaka as an organization are doubling down on the SASE market with their partners in APACRecorded by MySecurity Media as media partners to the Canalys APAC Forum, Bali, 2-4 December 2024. #pax8 #mysecuritytv #canalys

In this episode of Actualizing Success, Actualize Consulting's Partner Matt Seu and Tela Mathias, Chief Operating Officer at Phoenix Team and CEO and Chief Technology Officer at Phoenix First, explore the exciting intersection of Artificial Intelligence (AI) and mortgage loan origination. With over 50 years of combined experience in mortgage technology, our experts share their unique perspectives on AI's role in shaping the industry, the challenges ahead, and how generative AI might revolutionize mortgage origination in this engaging episode. Listen to learn more about:How AI has been quietly shaping the mortgage industry for decadesThe biggest challenges and opportunities generative AI presents for loan originationWhy compliance and data transparency are significant hurdles for AI adoptionThe potential of consumer-led underwriting and AI-driven lead generationHow we are leveraging generative AI to tackle regulatory change in the mortgage sectorAbout Matt Seu Matt is a Partner at Actualize Consulting, managing the Mortgage & Fixed Income practice. With three decades of experience in the mortgage industry, Matt is a wealth of information and a true thought leader committed to moving the industry forward through digital transformation and standardizing how the mortgage industry communicates. Before his time at Actualize, he served as a Vice President for Freddie Mac, focusing on large-scale business and technology change efforts. Matt is a two-time winner of MISMO's prestigious Outstanding Contribution Award and the 2023 Industry Titans Award.  Email: mseu@actualizeconsulting.com About Tela MathiasTela is the Chief Nerd and Mad Scientist at PhoenixTeam, where she is also the Chief Operating Officer. She is the Chief Executive Officer of Phoenix Burst, a generative artificial intelligence (genAI) regtech startup seeking to simplify compliance. She has 25 years of experience envisioning and delivering large scale mortgage technology products and is a recognized expert in genAI in mortgage.Email: tela.mathias@phoenixoutcomes.com Thanks for listening to this episode of the Actualizing Success Podcast! We hope you enjoyed the discussion and come back for more. In the meantime, don't forget to rate this episode and leave a review! Website: www.actualizeconsulting.com    If you have any questions or comments, we'd love to hear from you. You can contact us at podcast@actualizeconsulting.com. 

 From Treasure Island Oldies.com, this is the Rock & Roll News for the Week of January 12, 2025. This weekly Podcast covers events that took place this week in Rock & Roll History; who was in the studio recording what would become a big hit, and spotlight artists that are celebrating birthdays this week.Join me for the entire weekly four hour radio show, Treasure Island Oldies, The Home of Lost Treasures at www.treasureislandoldies.com.On the air every week since 1997, TreasureIslandOldies.com is one of the longest continuously-running radio shows on the Internet; and this year we are celebrating our 28th Anniversary! The show is hosted by veteran record label executive and broadcaster, Michael Godin. During his career at A&M Records, he became Vice-President of A&R and discovered and signed Bryan Adams to the label, along with multi award-winning songwriter and recording artist, Paul Janz. Michael also signed The Payolas whose Eyes Of A Stranger has become a classic. He returned to his radio roots in 1997 when Treasure Island Oldies began and continues to this day.The Treasure Island Oldies Broadcast Partners Network is always interested in welcoming new stations to its ever-growing network of stations around the world, including Canada, USA, England, Scotland, New Zealand, Sweden, and Ireland. If you'd like to air Treasure Island Oldies or the Rock & Roll News Podcast on your station, contact michael@treasureislandoldies.com.Keep up to date with late breaking news by coming to the Treasure Island Oldies Blog.And follow Michael Godin on Facebook.

Celebrate, The Savior is Here!Jesus Christ is Alive!Get to know Jesus Christ, He will change your life!!!Go to GOD for discernment and wisdom.Know the Truth as the Truth will make you free! (John 8:32)___The Pledge of AllegianceNEO420 = Real News + Real Information for WE THE PEOPLEWE THE PEOPLE are at war with the deepstate criminal cabal!!!Turn off your tv, radio, and stop listening to paid professional liars spreading propaganda.***SUPPORT Independent Free Speech Reporting***Thank you for the SUPPORT & SHARING the TRUTH!!!___Podcast  link is here http://neo420.com/talks-podcast/The video channel link is here. https://odysee.com/@NEO420TALKS:4The Viral Delusionhttp://www.theviraldelusion.com/HAARPDARPA BlackjackAshli Babbit false flag Jan 6 video evidence___NEVER FORGET 9 11!!!Rumsfeld admitted $2.3 Trillion missing from Pentagon Sept 10 2001.  https://odysee.com/@NEO420TALKS:4/rumsfeld-2.1Trillionunaccountedforb-ccriminalsstoleit:7Planes did NOT bring down the two towers.AE911Truth.orgGeorge Bush Sr was CIA director before being Vice President then President.Towers that fell:-Building 1-Building 2-Building 7 (seldom reported even though BBC reporter reported building down before it happened) https://www.youtube.com/watch?v=J0VFMqi--Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.Support the show

In these dark times, we must fight evil with the most powerful weapons we have. The Rosary is foremost among them.Join the Great Rosary Campaign today at: www.GreatRosaryCampaign.com.The Great Rosary Campaign is a yearlong mission for the conversion of cultural leaders. We will announce a weekly call to pray every Sunday for specific fallen-away Catholics and non-Catholics.THIS WEEK of the Great Rosary Campaign we are praying for Vice President-elect JD Vance. The SUGGESTED PENANCE this week is reading and praying Solomon's prayer for wisdom (1 Kings 3:9-13) daily for the Vice President-elect.Countless Saints and Popes have told us that the Rosary is incredibly powerful for three things in particular:1. Keeping the Faith2. Moral renovation3. Conversions of non-CatholicsThe Great Rosary Campaign is also based on several biblical themes and principles.First, PRAY FOR OUR BRETHREN. “Pray for one another…” (Jas. 5:16). “So then, as we have opportunity, let us do good to all men, and especially to those who are of the household of faith" (Gal. 6:10).Second, PRAY FOR OUR ENEMIES. “You have heard that it was said, ‘You shall love your neighbor and hate your enemy.' But I say to you, Love your enemies and pray for those who persecute you, so that you may be sons of your Father who is in heaven" (Matt. 5:43-44).Third, PRAY FOR ALL MEN, PARTICULARLY LEADERS AND THOSE IN AUTHORITY. “First of all, then, I urge that supplications, prayers, intercessions, and thanksgivings be made for all men, or kings and all who are in high positions…” (1 Tim. 2:1-2).Fourth, GOING INTO BATTLE WITH THE ARK. When the ancient Israelites came to Jericho, God didn't tell them to besiege the city. Instead, He told them to march around it with the Ark of the Covenant seven times, and on the seventh the walls would fall. We will now "march" in prayer for seven days with the New Ark of the Covenant, Our Lady, through the Rosary. We pray in hope that on the seventh day, a day especially devoted to Our Lady (Saturday), extraordinary graces of conversion will be given to those we are praying for.Fifth, EVANGELISM AND APOLOGETICS = LOVE + ARGUMENTS + PRAYER + PENANCE. Ultimately it is God who reveals Himself to a soul, and empowers them to say "yes" to Him by His grace. He chooses to use us, but He does not have to. We must remember that as we evangelize and defend the Faith, our arguments will be fruitless unless informed by love (charity), and reinforced by prayer and penance.Sixth, RETURNING GOOD FOR EVIL. “Do not return evil for evil, or reviling for reviling; but on the contrary bless, for to this you have been called, that you may obtain a blessing" (1 Pet. 3:9).Sign up to take part in the Great Rosary Campaign today: www.GreatRosaryCampaign.com

Ryan Hite sitting in today for Ed Martin to tell us What You Need to Know is the incoming Trump Administration is raring and ready to go! Ed Martin has been tapped as the Chief of Staff to incoming OMB Director Russ Vought. All across the incoming Trump team are great men and women who are preparing to bring swift and drastic change to the executive branch. Timothy Goeglein, Former Senior Advisor to the President under George W. Bush and Vice President of External and Governmental Relations at Focus on the Family, joins Ed to discuss his new book: Stumbling Toward Utopia. Shawn Farash, also known as Captain Deplorable, is host of "UNGOVERNED" on LFA TV and a comedian. The expert Trump imitator joins Ed to talk about his journey, as well as Trump’s recent victory. Wrap Up: Moral victories are needed, and we’re seeing them now! Daniel Penny was acquitted by a jury of his peers in the defense of his fellow subway passengers. The UK is banning the use of puberty blockers on minors. And for the first time in history, a Nativity display adorned the steps of the U.S. Capitol Building this week!See omnystudio.com/listener for privacy information.

Vice President-elect JD Vance says those responsible for the violence during the Jan. 6, 2021 Capitol riot "obviously" should not be pardoned. AP correspondent Donna Warder reports.

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