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Send us a textEpisode 394 features climate scientist Daniel Swain of Weather West and UCANR discussing the link between gardening and weather patterns. He provides tips on monitoring conditions, setting up weather stations, and adapting practices amid National Weather Service budget cuts.Previous episodes, show notes, links, product information, and transcripts at the home site for Garden Basics with Farmer Fred, GardenBasics.net. Transcripts and episode chapters also available at Buzzsprout. Now on YouTube (audio) Pictured: Davis Vantage Pro Weather Station (Photo: Wikimedia Commons)Links:“Beyond the Garden Basics” Newsletter This week's edition: “What is a Grocery Store Vine-Ripened Tomato?” By becoming a paid subscriber, you're helping support the newsletter and this podcast. Thank You!Dave Wilson Nursery https://www.davewilson.com/home-garden/Daniel Swain / WeatherWest on YouTubeHome Weather StationsDavis Instruments Weather StationsAll About Farmer Fred: GardenBasics.net“Beyond the Garden Basics” NewsletterFarmer Fred website: http://farmerfred.comThe Farmer Fred Rant! Blog http://farmerfredrant.blogspot.comFacebook: "Get Growing with Farmer Fred" Instagram: farmerfredhoffman https://www.instagram.com/farmerfredhoffman/Blue Sky: @farmerfred.bsky.socialFarmer Fred Garden Minute Videos on YouTube As an Amazon Associate, I earn from qualifying purchases from possible links mentioned here.Got a garden question? • Leave an audio question without making a phone call via Speakpipe, at https://www.speakpipe.com/gardenbasics• Call or text us the question: 916-292-8964. • Fill out the contact box at GardenBasics.net• E-mail: fred@farmerfred.com Thank you for listening, subscribing and commenting on the Garden Basics with Farmer Fred podcast and the Beyond the Garden Basics Newsletter.
Musician and climate activist Tamara Lindeman talks about the Canadian folk band's latest record, Humanhood.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy
In this episode of Working Class Audio, Matt welcomes Howie Beck who is a multi Juno nominated Mixer, Producer and musician located in Toronto who has mixed or produced music by artists as diverse as Feist, Charlotte Day Wilson, Barenaked Ladies, Chilly Gonzales, Ron Sexsmith, and the Weather Station amongst many more. In This Episode, We Discuss: Musician to Producer 4 Tracks to Pro Tools Challenges & Rewards of Audio Production Polishing Turds Smart Financial Decisions Health Care Challenges Problems with Apple and ATMOS Independence to Set Schedule Saving the Day Links and Show Notes: Howie's Website Matt's Rant: Small Chunks Credits: Guest: Howie Beck Host/Engineer/Producer: Matt Boudreau WCA Theme Music: Cliff Truesdell The Voice: Chuck Smith
A (relatively) in-depth analysis of Canadian folk band The Weather Station in (just under) fifteen minutes. Formed in 2006, The Weather Station is fronted by Tamara Lindeman.Their debut album The Line was released in 2009 and their seventh album, Humanhood, was released in 2025.In this episode I am in discussion with Dr. Andrew Webber.Mathew Woodallhttps://www.facebook.com/share/1F15mx4ea3/https://buymeacoffee.com/lownoiseWhy buy me a coffee?Low Noise is proudly ad-free. If you would like to to say thank you for any of the content you have enjoyed (and help support the continuation of creating more), the above link provides a way to make a small donation of your choice (I also function on coffee!).Feel free to leave a note with your donation to let me know what you enjoy about the podcast or any topics you would like me to discuss in the future.
En el episodio 229 de America Adapts, presentamos una edición especial del pódcast: nuestro primer episodio completamente en español. Este es un hito emocionante, ya que ampliamos el alcance del programa para llegar a audiencias hispanohablantes en todo el mundo. Este episodio retoma el trabajo innovador de la iniciativa ManglarIA del Fondo Mundial para la Naturaleza (WWF, por sus siglas en inglés), que en español significa “IA para los manglares”, un proyecto apoyado por Google.org, el brazo filantrópico de Google. La versión original en inglés de este episodio está disponible aquí. ManglarIA utiliza tecnología de punta —incluyendo inteligencia artificial, sensores y drones— para comprender mejor cómo los ecosistemas de manglares, y las comunidades que dependen de ellos, se ven afectados por el cambio climático. La iniciativa tiene lugar en la península de Yucatán, en México, y ejemplifica el papel cada vez más importante de la tecnología innovadora en los esfuerzos de adaptación climática. En esta versión, escucharán directamente a tres expertos de WWF: Alejandra Calzada, Nicole Chabaneix y Gonzalo Sanson. Ellos comparten cómo la combinación de inteligencia artificial con el conocimiento local está ayudando a proteger ecosistemas críticos y a fortalecer la resiliencia de las comunidades. También nos complace señalar que el anfitrión, Doug Parsons, participa en algunas de las entrevistas —en español— por lo que agradecemos su comprensión mientras asume el reto de hacer el programa más accesible. Gracias a WWF México por colaborar con America Adapts en este episodio especial. Transcripción de este episodio disponible aquí. Expertos en este episodio: Alejandra Calzada, Climate Change Adaptation Coordinator, World Wildlife Fund – Mexico Nicole Chabaneix - Sr. Specialist | Climate Adaptation & Resilience, World Wildlife Fund Gonzalo Sanson, Coastal Ecosystems Senior Officer, World Wildlife Fund - Mexico Consulte el kit de prensa America Adapts aquí Donar a America Adapts Facebook, Linkedin and Twitter: https://www.facebook.com/americaadapts/ @usaadaptshttps://www.linkedin.com/in/doug-parsons-america-adapts/ Recursos y enlaces en este episodio: ManglarIA: Using artificial intelligence to save mangroves in a changing climatehttps://www.worldwildlife.org/projects/manglaria-using-artificial-intelligence-to-save-mangroves-in-a-changing-climate Weather Station in Rio Lagartos, Mexico https://www.weatherlink.com/embeddablePage/show/24bee1142da4472cbeacb45521bf069a/wide Google Environmental Report 2024 https://www.gstatic.com/gumdrop/sustainability/google-2024-environmental-report.pdf https://www.worldwildlife.org/initiatives/mangroves-for-community-and-climate WWF Environment and Disaster Management Program https://envirodm.org/ WWF US https://www.worldwildlife.org/ Global Mangrove Alliance: https://www.mangrovealliance.org/ Versión en inglés de este episodio disponible aquí. Apple Podcasts Android Spotify! Podcast Music produce by Richard Haitz ProductionsÚnete a la America Adapts Facebook Community Group. Executive Producer Dr. Jesse Keenan Puede contactar a Doug en americaadapts @ g mail . com
In this week's episode, Rosalyn is joined by Tamara Lindeman of The Weather Station. Tamara reflects on how climate grief has shaped her music, a theme that emerged with her previous album Ignorance. She discusses her latest record, Humanhood, which explores themes of personal disconnection and healing, while continuing to resonate with the emotional weight of climate grief and broader political tensions. Tamara also shares her perspective on the current political climate and its impact on touring, speaking candidly about the emotional burden of climate change—particularly on younger generations—and offering thoughtful insights into how artists can balance their roles as advocates. Overall, it's a powerful and timely conversation about art's role in expressing complex emotions, creating connection, and sparking action in the face of an uncertain future.Tamara's recommendations for climate organizations, thinkers and speakers include: 350.org, Environmental Defence, Nature Conservancy Canada, Music Declares Emergency, Bill McKibben and Dr. Ayana Elizabeth Johnson.Buy, download or listen to The Weather Station's latest record, Humanhood.Find The Weather Station online:Website & Upcoming ShowsInstagramFacebookAbout The Weather StationThe Weather Station — the project of Toronto based songwriter Tamara Lindeman — returns with new album Humanhood on January 17th via Fat Possum Records. The last few years have seen The Weather Station release two albums: the career defining Ignorance (2021) and its ethereal, mostly live recording companion piece, How Is It That I Should Look At The Stars (2022). In that time, The Weather Station have gone on to headline tours across North America and Europe, play major festivals, and perform on the televised Austin City Limits as well as Jimmy Kimmel Live. Ignorance was named Best New Music (Pitchfork), and landed in year-end Top 10 lists from The New Yorker (#1), Spin, New York Times, Uncut, Pitchfork, The Guardian, and many others. Called "a heartbroken masterpiece" in The Guardian, the record was a complex evocation of climate grief that struck a chord worldwide. As a writer, Lindeman is known for her detail. “Her writing can feel … like the collected epiphanies from a lifetime of observing” (Pitchfork). Over the course of six albums, her music has moved from home recorded, mostly acoustic folk to the “ornate act of world building” (New Yorker) that was Ignorance. The throughline, though, is a focus on ideas; her lyrics walk the line between the personal and the conceptual, forever tying small moments to larger metaphysical quandaries. Nominated for three Juno Awards, a Socan Songwriting Award, and shortlisted for the Polaris Prize, her albums have made a mark both critically and conceptually.______________If you're interested in submitting questions for our upcoming episodes, be sure to follow Folk Canada on Instagram where we will be posting our upcoming guests.Tune in to the latest episodes of the Refolkus Podcast, featuring the latest music releases from Folk Canada members as well as some of our special guests, now broadcasting on CKCU FM 93.1 in Ottawa, CKUW 95.9 FM in Winnipeg and CFBX 92.5 FM in Kamloops.Presented by Folk CanadaHosted by Rosalyn DennettProduced by Kayla Nezon and Rosalyn DennettMixed by Jordan Moore of The Pod CabinTheme music “Amsterdam” by King CardiacArtwork by Jaymie Karn
For more than 35 years, Canadian singer-songwriter Sarah Harmer has used her voice to make award-winning, critically acclaimed music — but that's not all. She's also been a vocal advocate for important environmental and humanitarian causes, both in this country and abroad. At the Juno Awards in Vancouver earlier this year, Sarah was honoured with the Humanitarian Award, and now she's receiving a key to the city for her hometown of Burlington, Ont. In this career-spanning conversation with Tom Power, Sarah talks about her early days making music with The Saddletramps and Weeping Tile, going solo, and why she's so passionate about protecting the land she grew up on. If you enjoy this conversation, check out Tom's chat with The Weather Station.
Alex finally cracks a years-old mystery, Chris reveals his latest experiments, and we share updates on our freshest gear. Plus, a important show update.
Call it “brain fog,” call it “attention economy burnout,” call it the dregs of late capitalism: however you label it, Tamara Lindeman has been feeling it. With “Neon Signs,” our favorite song from her 2025 album as The Weather Station, Humanhood—out now on Fat Possum Records—she gives names and shapes to the sense of dread so many of us feel permeating our daily existence. “I've gotten used to feeling like I'm crazy—or just lazy,” she sings in her signature flinty voice at the start of the song, articulating the ennui of being stuck in a cosmic rut. Unending conflict, climate anxiety, and the always-on buzz of the internet—all of it has rendered so many of us inert. But the pulsing piano, swirling flutes and strings, and insistent beat do powerful work here, adding forward motion to Lindeman's existential angst. A protest song of a stripe, “Neon Signs” feels like a spiritual update of The Who's “We Don't Get Fooled Again”—a cautionary tale wrapped up in defiance. Untangling the politics of want and need, of trust and fear, of lust and genuine connection, Lindeman wanders a glittering landscape in which every flashing light demands notice and every notification could single doom. Is cutting through all that noise possible? “Neon Signs” doesn't make it clear, but Lindeman tips her hand in favor of the possibility of human flourishing in spite of it all—if only we can get honest with ourselves: “I swear to god I saw real love once/But nothing needs you so badly as a lie, so lonely, drifting, unmoored from real life/if nobody believes it all it can do is die.” This week on Transmissions, she joins host Jason Woodbury to discuss Humanhood—the album, sure, but also the concept of what makes us human. We're so pleased to share this talk with you.
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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
In this, our return episode of the University of Alberta's Makerspaces and Beyond, we journey back into what it means to be a makerspace – or not a makerspace, within a library-related space. Now, join us as we dive back into the journey with a dive into the Digital Scholarship Center, also known as the DSC!Theme SongMusic: Vlad Gluschenko – ForestLicense: Creative Commons Attribution 3.0 Unportedhttps://creativecommons.org/licenses/by/3.0/deed.enProduction CreditsNatasha D'Amours, Emily Jensen, Jennie McCurdy, Andy Zhang, Brett Sheehan, and Ethan Tonack.Music CreditsMirror by The Weather Station
Montreal-based Basia Bulat has been nominated five times for Canada's prestigious Juno Awards, and is a three time finalist for the coveted Polaris Music Prize. She just released her seventh album, Basia's Palace (Secret City Records) (which she co-produced with Mark Lawson) mixed by Tucker Martine (Neko Case, The National), with string arrangements by Drew Jurecka. The Record Store Day Podcast is a weekly music chat show written, produced, engineered and hosted by Paul Myers, who also composed the theme music and selected interstitial music. Executive Producers (for Record Store Day) Michael Kurtz and Carrie Colliton. Record Store Day 2025 is April 12th. For the most up-to-date news about all things RSD, including The List, visit RecordStoreDay.com) Please consider subscribing to our podcast wherever you get podcasts, and tell your friends, we're here every week and we love making new friends.
Another year, another month, another pod. Welcome to Episode 54 of This is Not Happening (TINH), an Album of the Month (AOTM) Podcast. In Part 1 we deep dive into an Album that one of us has chosen and in Part 2 we play 'Spin it or Bin it'. We pick a theme and each pick a song that represents that theme. We judge the selections by asking the question 'Spin It or Bin It'?In Part 1, Joey hosts a bit of a love-in on The Weather Station's 7th album Humanhood.In Part 2, Spin It or Bin It, our theme this month is 'New Music', tracks from the past 2-3 months. ----- Part 1 | The Weather Station | Humanhood -----One of the rare times that we've double dipped on artist, we return to Tamara Linderman and The Weather Station. In 2021 we all (eventually) loved Ignorance. An album focusing largely on nature and the climate crisis. It was an album of global concerns. Humanhood is feels quite different, it feels deeply personal but retains global relevance in different ways.I think this is going to be a big one for the pod this year. I know Joey and David will love this album but not so sure about Nolan and Guy. We discuss the album in comparison to Ignorance, we talk about production and sound mixing, percussion backing vocals and lovely lovely woodwind.Listen to the album here.Listen to the essential Sheroes podcast interview with Tamara here.Watch a few videos here.Buy some stuff here. ----- Part 2 | Spin It or Bin It | New Music -----January / February is usually a great time for new tracks. This year is no exception. Let's celebrate that. We each pick a new track and ask each other 'Spin It or Bin It?'Guy chose Orlando In Love by Japanese Breakfast.Joey chose Ocean Steppin' by John Glacier and Sampha.David chose One Foot by Greentea Peng.Nolan chose Lalala by Redman and Method Man.Here is a link to a long list of new tracks that we put together. Enjoy. Episode Chapters: 1 - Intro - 0:002 - Weather Station - Album introduction - 1:483 - Weather Station - What did you expect, what did you get? 5:284 - Weather Station - The energy of the album - 15:395 - Weather Station - Album production - 27:206 - Weather Station - Favourite tracks - 36:277 - Spin It Or Bin It - 41:538 - Outro - 1:05:54We've been writing the blog for years come and have a look - https://thisisnothappening.net/
The Best of the Month episode is now Patreon-only. Public subscribers get the first 25 minutes or so of the episode as a free preview. Members get to hear the whole episode on their member feeds or on Patreon direct.Welcome back.Kicking off season 5 of the Nialler9 Podcast with the return of our regular series in which Nialler and Andrea Cleary share their favourite music of the month.Discussing new albums from The Weather Station, MIKE, Pink Siifu, FKA Twigs among others; and songs from Lucy Dacus, Doechii, Niamh Regan, Japanese Breakfast, Olafur Arnalds, Talos and friends.We also chat the Choice Music Prize album nominations, Bluesky, The Traitors and films we've seen lately including Nosferatu, Blue Velvet/Lost Highway (RIP David Lynch) and The Substance [Nialler's Letterboxd].* Support Nialler9 on Patreon, get event discounts, playlists, ad-free episodes and join our Discord communityListen on Apple | Android | ACAST | Patreon | Pocketcasts | CastBox | Stitcher | Spotify | RSS Feed | Pod.Link Hosted on Acast. See acast.com/privacy for more information.
Der New Yorker Indie-Rapper widmet «Showbiz!» seiner ganz persönlichen Bühne, bespielt von Familie und Freunden. Nachdenkliche Reime über introvertierte, verspielte Eigenbau-Beats, kurz: Ein Album, für das man am besten alleine ins Auto sitzt und die Zeit vergehen lässt. +++ PLAYLIST +++ · 22:56 - PATROL REWORK (NAU LEONE REMIX) von EGOPUSHER/NAU LEONE · 22:53 - ALL I NEED von MARIBOU STATE FEAT. ANDREYA TRIANA · 22:50 - LET IT HURT von SIRENS OF LESBOS · 22:42 - WESPENNEST von DJ KOZE FEAT. SOPHIA KENNEDY · 22:38 - RODEO von SOPHIA KENNEDY · 22:33 - IRREVERSIBLE DAMAGE von THE WEATHER STATION · 22:29 - WATERTREES von SUPERNOVA EASY · 22:23 - AGITA2 von DNGDNGDNG/DENGUE DENGUE DENGUE · 22:21 - LA CHICA-CÁ von JOALIN · 22:18 - ALRIGHTER von DOTTIE ANDERSSON · 22:12 - SLACK von HILKE · 22:09 - SIDE BY SIDE von A=F/M · 21:56 - DO THINGS MY OWN WAY von SPARKS · 21:52 - CRO-MAGNON MAN von SQUID · 21:47 - FIST von MIYA FOLICK · 21:44 - I WANT YOU von MOMMA · 21:40 - RIVER von SUZZALLO · 21:35 - Red River von ROCKY VOTOLATO · 21:31 - IMAGINATION von BIG THIEF · 21:27 - VAMPIRE EMPIRE von BIG THIEF · 21:25 - MUD von WAXAHATCHEE · 21:20 - FIRE von WAXAHATCHEE · 21:16 - ONE OF THESE DAYS von BONNIE PRINCE BILLY · 21:08 - THE WATER'S FINE von BONNIE PRINCE BILLY · 21:04 - AMERICAN DREAMING von SIERRA FERRELL · 20:57 - SO HERE WE ARE von BLOC PARTY · 20:54 - BLACK COUNTRY GOTHIC von BIG SPECIAL · 20:50 - DROP von TUNDE ADEBIMPE · 20:46 - STONES THROW von GREENTEA PENG · 20:43 - BAND4BAND von CENTRAL CEE/LIL BABY · 20:40 - COOK & EFFY von KILLOWEN/FRANKIE STEW AND HARVEY GUNN · 20:38 - NISSAN ALTIMA von DOECHII · 20:33 - NOSEBLEEDS DOECHII · 20:28 - NOT LIKE US von KENDRICK LAMAR · 20:22 - ALRIGHT von KENDRICK LAMAR · 20:20 - YOU'RE THE ONLY ONE WATCHING von MIKE · 20:17 - THEN WE COULD BE FREE.. von MIKE · 20:15 - ARTIST OF THE CENTURY von MIKE · 20:10 - ONE BEER von MF DOOM · 20:07 - HOW FAR? von GORILLAZ FEAT. TONY ALLEN/SKEPTA · 20:04 - THUNDERDOME von PORTUGAL. THE MAN FEAT. BLACK THOUGHT/NATALIA LAFOURCADE
En esta entrega, hemos escuchado la música de Plantoid; WEEDIAN, Trip to California (Stoner Edition); Steve Hackett; The Weather Station; Big Brother & The Holding Company with Janis Joplin; Antoine Fafard; Cactus.
Tamara Lindeman makes music as The Weather Station and she is my guest on this episode of That's How I Remember It. Tamara just released a fantastic record called Humanhood, which comes follows 2021's breakthrough Ignorance and its 2022 companion How Is It That I Should Look at the Stars. We talked about the making of Humanhood, climate grief, trusting musicians, winds vs. synths, and making music so you can go on tour. I thought this was a really great conversation, and I'm excited to be able to share it here. Listen and subscribe!
In which the Curmudgeons know it's going to be a long, long time before the heavens produce a young man as preternaturally gifted as a songwriter and performer as Elton John proved to be back in the early 1970s. John's output during the early part of that fabled decade was routinely incredible, possessed with both a swagger and a tenderness that shone through in gorgeous melodies and the often profound lyrics of collaborator Bernie Taupin. We revisit a period when virtually no one else in all of rock n' roll could approach the mastery of Elton John. We analyze his studio albums from this period and discuss his legacy at length. Enjoy the music of Elton John by accessing our special Spotify playlist: https://open.spotify.com/playlist/5kheG5S8heMsbCJGxoejtj?si=12b56c620c464c94 Here's a handy navigation companion to this episode. (00:52 - 03:01) - Arturo Andrade sets the parameters for our discussion of Elton John (04:29 - 18:08) - The Parallel Universe, featuring reviews of new albums by Lambini Girls and The Weather Station (19:07 - 55:18) - We cover the origin story of Elton John and discuss his albums Elton John, Tumbleweed Connection, Madman Across the Water, Honky Chateau and Don't Shoot Me I'm Only the Piano Player (56:53 - 01:28:48) = WE discuss Elton John's albums Goodbye, Yellow Brick Road, Caribou, Captain Fantastic and the Brown Dirt Cowboy and Rock of the Westies. We also offer thoughts on John's "big picture" legacy within popular music. Join our Curmudgeonly Community today! facebook.com/groups/curmudgeonrock Hosted on Podbean! curmudgeonrock.podbean.com Subscribe to our show on these platforms: https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911 https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=5ffbdc04d6d44ecb https://music.amazon.com/podcasts/5fea16f1-664e-40b7-932e-5fb748cffb1d/the- Co-produced and co-hosted by The Curmudgeons - Arturo Andrade and Christopher O'Connor
Mitte 2010er-Jahre tauchte auf verschiedenen Playlists die Formel a=f/m auf. Nein, es wurde kein Streaming-Algorithmus geleakt, sondern Synth-Pop-Wellen verbreitet. Hinter der Gleichung standen Belia Winnewisser und Rolf Laureijs aus Luzern. 2015 erschien ihre Debüt-EP, zwei Jahre später das erste und bislang einzige Album, denn bald darauf verschwanden a=f/m wieder. Doch so plötzlich wie sie damals abtauchten, tauchen sie heute – 10 Jahre nach Bandgründung – wieder auf. Die Comeback-Single gibts heute bei Sounds!. Ausserdem: Kristen Stewart gibt ihr musikalisches Debüt und Fleetwood Macs Lindsey Buckingham spielt bei Empire of the Sun. Was ein New Music Friday! LET'S GO! +++ PLAYLIST +++ · 21:57 WATERTREES von SUPERNOVA EASY · 21:52 TIME AND AGAIN von C DUNCAN · 21:44 MO CHEOL THU von ANNA B SAVAGE · 21:41 DIEU EST GRANDE von YOUSSOUPHA · 21:36 PAKISTAN von JULE X · 21:29 JE M'ADORE von COCON JAVEL · 21:27 KILL von STAR 99 · 21:22 TIDES von FLIPTURN · 21:18 FANZINE MADE OF FLESH von MOGWAI · 21:13 BLACK OPPS von BENJAMIN BOOKER · 21:09 WHO LAUGHS LAST von LORD HURON FEAT. KRISTEN STEWART · 21:04 THE NIGHT WE MET von LORD HURON FEAT. PHOEBE BRIDGERS · 20:56 CRG von CENTRAL CEE/DAVE · 20:50 HURRICANE von JESHI FEAT. LEILAH · 20:47 QQQQ von ELA MINUS · 20:43 CHILDLIKE THINGS von FKA TWIGS · 20:38 LONELY von THE WEATHER STATION · 20:34 WINDOW von THE WEATER STATION · 20:31 TIGHTROPE von PRESS CLUB · 20:25 INSTEAD von OBLIECHT · 20:22 SIDE BY SIDE von A=F/M · 20:16CONSEQUENCE von Frederik · 20:12 THE CHAIN von FLEETWOOD MAC · 20:08 SOMEBODY'S SON von EMPIRE OF THE SUN FEAT. LINDSEY BUCKINGHAM · 20:05 GOTH KIDS von L'OBJECTIF
Sieben Jahre nach seinem Tod erscheint das 2. posthum veröffentlichte Album von Mac Miller: «Balloonerism» entstand 2014 und gibt Einblicke, wie er auch zu Zeiten des Grosserfolgs superpersönlich textete und der Kreativität freien lauf liess. Mitgewirkt haben u.a. Thundercat und SZA. +++ PLAYLIST +++ · 22:55 - FAINT OUTLINES von HOLM · 22:43 - PILLOW von SIMON GRAB UND DAVID MEIER · 22:38 - IN II von VIOLETA GARCIA · 22:35 - AN INTRODUCTION von OPERAZIONI · 22:31 - GESTICULATE ELASTICALLY von NOEMI BÜCHI · 22:28 - SUNNEBRAND IN MY HEART von LISA MARK · 22:23 - BELLY B von ELIN · 22:20 - 5AM BALKAN CLUB DELUSION von NEKA NEKA · 22:13 - PRESSURE FROM ALL SIDES von MELODIES IN MY HEAD · 22:10 - BLANKET von TIM & PUMA MIMI · 21:57 - BROKEN von ELA MINUS · 21:51 - NEON SIGNS von THE WEATHER STATION · 21:47 - PLANT von EFTERKLANG FEAT. MABE FRATTI · 21:41 - LIVING OTHER LIVES von EFTERKLANG · 21:35 - CUT STITCH SCAR von COCOROSIE · 21:30 - PERFECT STRANGER von FKA TWIGS · 21:27 - EHRLICH von KOCHKRAFT DURCH KMA · 21:24 - ACID BASS von FRITTENBUDE · 21:19 - RAVEPUNK FÜR EINE BESSERE WELT von SAALSCHUTZ · 21:15 - WWW SHE HOT von UCHE YARA · 21:11 - IGNORED von BOKO YOUT · 21:08 - MAN MADE OF MEAT von VIAGRA BOYS · 21:03 - PUNK ROCK LOSER von VIAGRA BOYS · 20:56 - OCEAN STEPPIN' von JOHN GLACIER FEAT. SAMPHA · 20:52 - TRUE RELIGION von SHYGIRL FEAT. PINKPANTHERESS/ISABELLA LOVESTORY · 20:49 - TO KILL A SINGLE GIRL von MOONCHILD SANELLY · 20:46 - LOSE CONTROL von YOUNG FRANCO/EARTHGANG/JAFUNK · 20:43 - 5 DOLLAR PONY RIDES von MAC MILLER · 20:39 - KILL BILL von SZA · 20:35 - DJS CHORD ORGAN von MAC MILLER FEAT. SZA · 20:29 - I CAN SEE von MAC MILLER · 20:25 - Party On Fifth Ave von MAC MILLER · 20:19 - STONED von MAC MILLER · 20:15 - FRIENDLY HALLUCINATIONS von MAC MILLER · 20:07 - FUNNY PAPERS von MAC MILLER · 20:05 - PASS THE SALT von JOY CROOKES/VINCE STAPLES
Auf ihren ersten beiden Alben haben sich Dimitri Käch, Alessandro Giannelli und James Varghese dem ausschweifend-dramatischen Post-Rock verschrieben. Für ihr drittes Album «Behind Curtains» wagt das Zürcher Trio nun den vorsichtigen Flirt mit Popstrukturen. Zwar bleiben HOLM auch auf dem neuen Album ein rein instrumentales Projekt, die Songs sind jedoch kürzer geworden, bei der Gitarre blieben die grossen Hall- und Verzerreffekte im Schrank und irgendwo schwingen sogar Khruangbin oder die Hermanos Gutiérrez ein bisschen mit. Woher diese neuen Inspirationen? Darüber sprechen wir mit Gitarrist Dimitri Käch im exklusiven Sounds!-Interview. +++ PLAYLIST +++ · 22:56 – OH MY ACTUAL DAYS von ALABASTER DEPLUME · 22:52 – KEEP ME STARTED von JUNGLE · 22:48 – BRING AN END von BUTLER, BLAKE & GRANT · 22:44 – BACK TO THE LIGHT von TEENAGE FANCLUB · 22:40 – UNBELIEVABLE von DJ KOZE & ADA · 22:34 – RAOUL von SNAPPED ANKLES · 22:31 – QQQQ von ELA MINUS · 22:25 – BROKEN von ELA MINUS · 22:20 – ABRIR MONTE von ELA MINUS · 22:13 – EL CIELO NO ES DE NADIE von ELA MINUS · 22:08 – DEMOLITION von MARIE DAVIDSON · 21:56 – DRIFTWOOD von TRAVIS · 21:52 – ALL CYLINDERS von YVES JARVIS · 21:50 – SCHWARZE MAGIE von DIE HEITERKEIT · 21:47 – SWITCH OVER von HORSEGIRL · 21:43 – 21ST CENTURY COOL GIRL von CHLOE QISHA · 21:39 – KRAFTY von NEW ORDER · 21:36 – LIKE CLEOPATRA von BABE RAINBOW · 21:32 – LOW SUN von HERMANOS GUTIÉRREZ · 21:28 – BEHIND CURTAINS von HOLM · 21:22 – LONG RIDES von HOLM · 21:14 – FAINT OUTLINES von HOLM · 21:10 – THREE FROM TWO von KHRUANGBIN · 21:04 – CRACKED ASPHALT von HOLM · 20:55 – FUNNY PAPERS von MAC MILLER · 20:51 – WINDOWS von GIRLPUPPY · 20:48 – MY LOVE MINE ALL MINE von MITSKI · 20:45 – RIBBON von THE WEATHER STATION · 20:39 – MIRROR von THE WEATHER STATION · 20:33 – CLOSER von NINE INCH NAILS · 20:28 – ELECTROLITE von R.E.M. · 20:24 – TIME WAITED von MY MORNING JACKET · 20:21 – GET BY von KATE TEAGUE · 20:16 – NEON SIGNS von THE WEATHER STATION · 20:13 – ANKLES von LUCY DACUS · 20:09 – LA CHICA-CÁ von JOALIN · 20:04 – SUNLIT AFTERNOONS von HOLM
University of Florida engineer Brian Phillips updates us on NSF-funded efforts to capture vital data during landfalling hurricanes. For decades, UF researchers have deployed mobile weather stations. Now, Phillips describes the newly designed Sentinel weather station. The 33 feet tall tower, anchored 20 feet into the shoreline, can withstand a Category 5 hurricane, including 16-foot surge and breaking waves. During Hurricane Helene, the Sentinel gathered data on wind speeds, surge, and the water's chemical and biological constituency.
University of Florida engineer Brian Phillips describes the procedure for installing the Sentinel mobile weather station directly on the beach. Assembly starts with drilling a 20-foot auger hole. Once the foundation is secure, the team raises the 33-foot carbon-steel-fiber mast, fully instrumented. The setup resists wind and wave impacts. During the hurricane, the station sends data in real time to servers at University of Florida. This year, the team deployed the Sentinel during Hurricanes Helene and Milton. Thanks to NSF MRI funding, the team will continue improving the design and build several more Sentinels.
Tonight's edition features new and forthcoming music from Mogwai, God Body Disconnect, The Weather Station, Ian Hawgood, Gunn - Truscinski Duo, Steven R. Smith, Bill Orcutt…
The Canadian singer-songwriter Tamara Lindeman, a.k.a. The Weather Station, is known for making music that confronts climate change and the damage we've inflicted on our planet. Just a few days ago, Tamara released her new album, “Humanhood,” which chronicles a difficult mental health period in her life when she felt like she had lost her sense of self. She sits down with Tom Power to discuss the record and why she turns to music to make it through tough times.
Jeden Januar trifft sich die Musikszene des Kontinents um den neuen heissen Scheiss auszutauschen. Sounds!-Redaktorin Gisela Feuz fand schwedischen Afro-Grunge, mexiko-finnischen Electropop, Black Country Soul-Punk.. aber kaum mehr «gute alte Bands»?! Hört bei uns ihr Trend-Telegramm aus Groningen. +++ PLAYLIST +++ · 22:58 - SEGA MUSIC von LUZIUS SCHULER · 22:53 - FALLING von JULEE CRUISE · 22:51 - BADALAMENTI AM KLAVIER von ZÜRI WEST · 22:46 - PINKY'S DREAM von DAVID LYNCH FEAT. KAREN O · 22:43 - SHADOW von CHROMATICS · 22:38 - THE PERFECT DRUG von NINE INCH NAILS · 22:35 - LOVE ME von NICOLAS CAGE · 22:29 - I'M DERANGED von DAVID BOWIE · 22:24 - IDOLS von ELA MINUS · 22:19 - KELLER KLUB von BÊTE SALÉE · 22:15 - BEHIND CURTAINS von HOLM · 22:10 - LOSE CONTROL von YOUNG FRANCO & EARTHGANG & JAFUNK · 22:08 - PASS THE SALT von JOY CROOKES & VINCE STAPLES · 21:55 - LEAST I HAVE YOU von COCOROSIE · 21:52 - SECURITY von AMYL AND THE SNIFFERS · 21:47 - LA SYMPHONIE DES ECLAIRS von ZAHO DE SAGAZAN · 21:43 - HUMANHOOD von THE WEATHER STATION · 21:37 - PARKING LOT von THE WEATHER STATION · 21:34 - WISH YOU WOULD NOTICE (KNOW THIS) von ZZZAHARA · 21:29 - FASHION von PAULA DALLA CORTE · 21:23 - RUN RUN RUN von SIRENS OF LESBOS · 21:20 - ACCORDEON RAVEOLUTION von GRAYSSOKER · 21:14 - MONEY MULLET von THE PILL · 21:11 - WORKING CLASSIC von ANTONY SZMIEREK FEAT. YEMI BOLATIWA · 21:05 - SUMMER BLUES von MARTHA DA'RO · 20:57 - IGNORED von BOKO YOUT · 20:50 - AUDI RTT von GWENDOLINE · 20:48 - LA CHICA-Cá von JOALIN · 20:41 - I GOT VIEWS von GETDOWN SERVICES · 20:37 - KOSTARIKA von ASTRID & THE SCANDALS · 20:30 - BECANE von YAME · 20:24 - WWW SHE HOT von UCHE YARA · 20:19 - MILK von KÄSSY · 20:15 - THIS HERE AIN'T WATER von BIG SPECIAL · 20:07 - STRONG FEELINGS von DRY CLEANING · 20:04 - LA MARCHEUSE von CHRISTINE AND THE QUEENS
You know how every now and then, an album comes along that just gets into your bones, and it's hard to describe just how grateful you are it exists? (If you don't know that feeling, I'm sorry, but keep searching for it). Tamara Lindeman working as The Weather Station has make two such records I feel that way about; 2019's “Ignorance” and 2025's “Humanhood”, released on January 17th. “Humanhood” is a brave, striking and beautiful piece of work that just keeps on giving back, the more you mine it. It's not designed for casual listening; the level of nuance involved, the little interludes between songs, and it's lyrical themes of self-identity in crisis, set against grander concerns about the environment and the post-truth era we find ourselves in, deserve your full attention. It's the sort of album where a different moment or detail might hit your each time you go back to it. It can't imagine it being topped this year. Our conversation takes in everything from depersonalisation disorder and OCD, to taking photos of the sky, unrealistic roles for teenagers and in movies, Canadian rock-band Our Lady Peace, and quietly making the greatest album of 2025. Let me know what you think on Instagram @sendingsignalspodcast
Nach dem Grosserfolg des letzten Albums «Ignorance» (im Februar 2021 Sounds! Album der Woche) folgte bei Tamara Lindeman der Crash. Das siebte Album «Humanhood» musste aus dem Loch einer chronischen Depersonalisationsstörung entstehen. Aber: Alles halb so wild, versichert Lindeman im Sounds!-Interview. Also, das Songwriting sei ihr zwar noch nie so schwer gefallen wie für das siebte The Weather Station-Album, wer nun allerdings jeden Stein der Platte umdreht um nach Details über Lindemans aktuellen Gesundheitszustand zu suchen, macht sich damit keinen Gefallen: «Wenn ich wirklich glauben würde, dass jedes Lied, das ich schreibe, ein Stück meines Lebens ist, das nun fix in Stein gemeisselt ist, dann könnte ich wohl nie wieder einen Song schreiben», sagt die Musikerin aus Kanada über ihr neustes Album. Weitere Themen unseres Gesprächs: Wie ein Telefonat mit einer guten Freundin Lindeman zum Weinen gebracht hat und nun zum Herzstück des Albums wurde, sowie ihre Liebe zu The Blue Nile und Talk Talk. «Humanhood» ist das neue Sounds! Album der Woche. Bis und mit Freitag gibt's jeden Abend Vinyl zu gewinnen – nur live in der Sounds!-Radiosendung. +++ PLAYLIST +++ · 22:54 – MORE THAN LIFE von THE HORRORS · 22:48 – WWW SHE HOT von UCHE YARA · 22:46 – ORLANDO IN LOVE von JAPANESE BREAKFAST · 22:42 – SAD MAKEUP von YUKIMI · 22:39 – CRUSH von ALEX NAUVA & GALLERY OF NOISE · 22:35 – COOK & EFFY von KILLOWEN & FRANKIE STEW AND HARVEY GUNN · 22:32 – ANKLES von LUCY DACUS · 22:28 – BRING AN END von BUTLER, BLAKE & GRANT · 22:23 – SNOWFLAKES von DROPKICK · 22:19 – BLEIB AM LEBEN von TOCOTRONIC · 22:16 – STRETCH THE STRUGGLE von BRIA SALMENA · 22:12 – TIME WAITED von MY MORNING JACKET · 22:08 – GET BY von KATE TEAGUE · 21:57 – WINDOW von THE WEATHER STATION · 21:53 – DUM DUM GIRL von TALK TALK · 21:47 – TINSELTOWN IN THE RAIN von THE BLUE NILE · 21:41 – MIRROR von THE WEATHER STATION · 21:36 – HARD DRIVE von CASSANDRA JENKINS · 21:26 – IRREVERSIBLE DAMAGE von THE WEATHER STATION · 21:18 – NEON SIGNS von THE WEATHER STATION · 21:15 – BODY MOVES von THE WEATHER STATION · 21:04 – ROBBER von THE WEATHER STATION
NPR Music's Stephen Thompson welcomes aboard Kara Manning of New York City public radio station WFUV to discuss the best new albums hitting streaming services on Friday, Jan. 17.Featured Albums• Mac Miller, 'Balloonerism'• The Weather Station, 'Humanhood'• jasmine.4.t, 'You are the Morning'• Victoria Canal, 'Slowly, It Dawns'• Blue Lake, 'Weft'Check out our long list of albums out today and stream our New Music Friday playlist at npr.org/music.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy
One of the year's most anticipated albums is out today - Humanhood, the seventh studio album by The Weather Station - and Carmel Holt helps celebrate its arrival by welcoming the brilliant singer, songwriter, producer and musician at its center, Tamara Lindemann for a fascinating conversation about the making of the new album, how learning about differing skull shapes between men and women changed her life, and revelations that have come from teaching songwriting to others.
Der SRF 3 Musikabend zum Wochenendstart mit den Hinhörern aus den heute erschienenen neuen Alben (The Weather Station! Ela Minus!), einem Zückerchen aus der Schweiz (Aino Salto!), einer neuen Tocotronic-Single(!) UND unserer ersten «Eurosonic»-Entdeckung. +++ PLAYLIST +++ · 21:55 – UNBELIEVABLE von DJ KOZE & ADA · 21:49 – DEMOLITION von MARIE DAVIDSON · 21:46 – QQQQ von ELA MINUS · 21:42 – IDOLS von ELA MINUS · 21:40 – CUNTOLOGY 101 von LAMBRINI GIRLS · 21:37 – SCHWARZE MAGIE von DIE HEITERKEIT · 21:34 – NEVER TEAR US APART von INXS · 21:31 – ADORE von YES I'M VERY TIRED NOW FEAT. NATASHA WATERS · 21:27 – STAND UP TALL von DIZZEE RASCAL · 21:24 – SCUMBAG von JESHI · 21:21 – UNLEASH ME von BUSTA RHYMES · 21:16 – FUNNY PAPERS von MAC MILLER · 21:13 – LLORANDO (CRYING) von REBEKAH DEL RIO · 21:07 – IN DREAMS von ROY ORBISON · 21:04 – LIKE CLEOPATRA von BABE RAINBOW · 20:55 – HOW DO YOU WANT TO BE LOVED? von SOPHIE JAMIESON · 20:50 – CAMERA von SOPHIE JAMIESON · 20:45 – POWERLINES von AINO SALTO · 20:41 – WE MUST HAVE BEEN ASLEEP von AINO SALTO · 20:37 – AIN'T THAT ENOUGH von TEENAGE FANCLUB · 20:33 – SNOWFLAKES von DROPKICK · 20:30 – DOLLY von GEOWULF · 20:26 – KEEP ME SATISFIED von JUNGLE · 20:24 – IGNORED von BOKO YOUT · 20:19 – RUSTLE von HUTCH · 20:16 – YOU'VE GOT THE LOVE von FLORENCE + THE MACHINE · 20:13 – RIBBON von THE WEATHER STATION · 20:07 – NEON SIGNS von THE WEATHER STATION · 20:03 – BLEIB AM LEBEN von TOCOTRONIC
Namen wie Mac DeMarco, Eyedress, Jay Som oder Illuminati Hotties werden abermillionenfach gestreamt. Die Reichweite steht in krassem Kontrast zur Entstehung von deren Songs mit minimalem Equipment in irgendwelchen Schlafzimmern in Los Angeles. Neustes Fundstück aus dieser Szene: Zzzahara. +++ PLAYLIST +++ · 22:53 - NEW DAWN von MARSHALL ALLEN FEAT. NENEH CHERRY · 22:48 - KELLER KLUB von BETE SALEE · 22:45 - CRUSH von ALEX NAUVA/GALLERY OF NOISE · 22:41 - CLIMBING von CARIBOU · 22:37 - EVERY TIME THE SUN COMES UP von SHARON VAN ETTEN · 22:33 - TROUBLE von SHARON VAN ETTEN AND THE ATTACHMENT THEORY · 22:29 - SKIN ON SKIN von JASMINE.4.T · 22:23 - SASHA von UCHE YARA · 22:19 - IT'S A MIRROR von PERFUME GENIUS · 22:15 - BLURRY EYES von CARRIERS · 22:10 - PAIN von THE WAR ON DRUGS · 21:56 - HAPPY IDIOT von TV ON THE RADIO · 21:51 - AN ARTIST IS AN ARTIST von SKUNK ANANSIE · 21:49 - FILTHY RICH NEPO BABY von LAMBRINI GIRLS · 21:44 - SPECIAL DIFFERENT von LAMBRINI GIRLS · 21:41 - BACK TO THE RADIO von PORRIDGE RADIO · 21:37 - DON'T WANT TO DANCE von PORRIDGE RADIO · 21:34 - FELT BETTER ALIVE von PETER DOHERTY · 21:31 - WHAT BECAME OF THE LIKELY LADS von THE LIBERTINES · 21:25 - BUILD IT UP von FRANZ FERDINAND · 21:21 - NEON SIGNS von THE WEATHER STATION · 21:16 - SUGAR IN THE TANK von JULIEN BAKER & TORRES · 21:13 - ANKLES von LUCY DACUS · 21:07 - FOREVER HALF MAST von LUCY DACUS · 21:03 - NOT STRONG ENOUGH von BOYGENIUS · 20:55 - STRETCH THE STRUGGLE von BRIA SALMENA · 20:53 - SUPER PROUD von OKNOAH · 20:50 - SORT IT OUT von OKNOAH · 20:47 - FIN DEL MUNDO von CUCO FEAT. BRATTY · 20:42 - GOOD DAY TODAY von DAVID LYNCH · 20:37 - FALLING von JULEE CRUISE · 20:33 - NO ONE NOTICED von THE MARIAS · 20:28 - BRUISED von ZZZAHARA · 20:25 - CAN'T BE STILL von ILLUMINATI HOTTIES · 20:21 - IN YOUR HEAD von ZZZAHARA · 20:19 - ON FYE von THE SIMPS · 20:14 - NATURE TRIPS von EYEDRESS · 20:11 - NIGHTTIME DRIVE von JAY SOM · 20:06 - WISH YOU WOULD NOTICE von ZZZAHARA · 20:04 - FREAKING OUT THE NEIGHBORHOOD von MAC DEMARCO
Sex, Religion, Familie und die USA: Ethel Cains Themen sind Allgemeinplätze, die schon Lana Del Rey betörend düster anstrich. Während man auf Cains Debüt «Preacher's Daughter» noch lose verwandten Pop bekam, wirds jetzt zappenduster. «Perverts» ist so bitter-böse wie die Welt. +++ PLAYLIST +++ · 22:51 - PULLDRONE von ETHEL CAIN · 22:44 - VACILLATOR von ETHEL CAIN · 22:42 - ORLANDO IN LOVE von JAPANESE BREAKFAST · 22:39 - GESTICULATE ELASTICALLY von NOÉMI BÜCHI · 22:35 - QQQQ von ELA MINUS · 22:31 - BLANKET von TIM & PUMA MIMI · 22:28 - RINGO von LAPCAT & HAWKFATHER · 22:21 - MIRROR von THE WEATHER STATION · 22:17 - BOLOGNA von DESTROYER FEAT. FIVER · 22:13 - CRYBABY von SZA · 22:08 - 5 DOLLAR PONY RIDE von MAC MILLER · 21:57 - HAVE HEAVEN von FLORIST · 21:51 - PARADISE von RIPSIME · 21:48 - THE PRIZE von PRIMA QUEEN · 21:43 - WE'VE GOT NO TIME AT ALL von PINA PALAU · 21:38 - COAST von KIM DEAL · 21:36 - BARN NURSERY von HEY, NOTHING · 21:30 - RITUALS von PALE BLUE EYES · 21:28 - ICH WAR DA von STEINTOR HERRENCHOR · 21:24 - WISH YOU WOULD NOTICE von ZZZAHARA · 21:22 - STANLEY von CAMILLE SCHMIDT · 21:16 - WANTS NEEDS von BARTEES STRANGE · 21:12 - CATS von FRANZ FERDINAND · 21:07 - TAKE ME OUT von FRANZ FERDINAND · 21:04 - KNOCKIN' HEART von HAMILTON LEITHAUSER · 20:54 - HURT von NINE INCH NAILS · 20:48 - AMBER WAVES von ETHEL CAIN · 20:42 - PUNISH von ETHEL CAIN · 20:35 - STRANGERS von ETHEL CAIN · 20:32 - CRUSH von ETHEL CAIN · 20:25 - BORN TO DIE von LANA DEL REY · 20:21 - DEFENSE von PANDA BEA & /CINDY LEE · 20:17 - T&A von BLONDSHELL · 20:12 - COMPANY CULTURE von LAMBRINI GIRLS · 20:10 - YOU'RE NOT FROM AROUND HERE von LAMBRINI GIRLS · 20:04 - MODEL VILLAGE von IDLES
Today's Song of the Day is “Window” from The Weather Station's album Humanhood, out January 17.The Weather Station will be performing at Turf Club on Friday, April 11.
Woah. Was für eine lange, schier unerträgliche Pause! But fear not: euer SRF 3 Musikabend ist B-A-C-K – und tischt ab sofort wieder jeden Abend zur gewohnten Zeit ein Festmahl mit neuer Musik auf. Und da ist während den letzten vier Wochen ja einiges zusammengekommen... Neue Tunes von Julien Baker (mit Torres), Hamilton Leithauser (Ex- und Immermalwieder-The Walkmen), ganze Alben von SZA oder Bad Bunny... What a Start!! +++ PLAYLIST +++ · 22:53 – THROUGHLINES von YOU, INFINITE · 22:48 – BODY MOVES von THE WEATHER STATION · 22:43 – PURE LOVE (DAY) von DJ KOZE FEAT. DAMON ALBARN · 22:37 – WIE SCHÖN DU BIST von DJ KOZE FEAT. ARNIM TEUTOBURG-WEISS & THE DÜSSELDORF DÜSTERBOYS · 22:34 – WHEN HE COMES AROUND von TOLEDO · 22:31 – THIS TIME AROUND von MIYA FOLICK · 22:26 – SOPHIE von FREDRIK SVABØ & THEA WANG · 22:23 – LONDON MAY von BONNIE 'PRINCE' BILLY · 22:20 – THE OOGUM BOOGUM SONG von BRENTON WOOD · 22:16 – PITORRO DE COCO von BAD BUNNY · 22:11 – CRYBABY von SZA · 22:09 – CAN I? von JILL RYAN · 21:56 – KILL BILL von SZA · 21:54 – CONNECTION von ELASTICA · 21:50 – PONYTAIL von BIIG PIIG · 21:45 – JULIE von HORSEGIRL · 21:41 – SICK DOGS von HEY, NOTHING · 21:38 – BARN NURSERY von HEY, NOTHING · 21:33 – RIVERSIDE von ORACLE SISTERS · 21:31 – HELLO, HI von LITTLE SIMZ · 21:25 – TONITE von LCD SOUNDSYSTEM · 21:21 – SUGAR IN THE TANK von JULIEN BAKER & TORRES · 21:17 – DRIVE SONG von THALA · 21:13 – FERRY LADY von PANDA BEAR · 21:08 – DEFENSE von PANDA BEAR & CINDY LEE · 21:04 – THIS SIDE OF THE ISLAND von HAMILTON LEITHAUSER
The boys are back! Steven and Ian catch up after the holiday break with a quick Sportscast about college football and the NFL [2:58]. Then they do their Fantasy Albums Draft for Q1 of 2025 and discussing upcoming records from FKA Twigs, The Weather Station, Ethel Cain, and more [18:45]. (Also, is it possible that Steven didn't win the Q4 2024 draft after all [15:18]?)From there, they review their predictions for musical happenings in 2024 — how accurate were they at anticipating the most hashable trends of last year [39:39]? Then they set about making predictions for the new year. Will this be the year that Sky Ferreira's album finally drops? Let's guess [46:17]!New episodes of Indiecast drop every Friday. Listen to Episode 220 here and subscribe wherever you get your podcasts. You can submit questions for Steve and Ian at indiecastmailbag@gmail.com, and make sure to follow us on Instagram and X (formerly Twitter) for all the latest news. We also recently launched a visualizer for our favorite Indiecast moments. Check those out here.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
YOU'RE NOT SINGING ANY MORE - The Mekons 2468 - Horsegirl MY CEILING - Fish Narc SOLITARY INDIVIDUAL - Du Blonde, Laura Jane Grace GINGKO - Pachinko CRISPY SKIN - Skid EVERYBODY HURTS - Al Green A LITTLE BLOOD - Grace Bergere EMPTY PAPER TOWEL ROLL - Mt. Erie ANOTHER DAY - Sacred Paws BLOW IT - Jack Kays SOUVENIRS - Rooftop Screamers NIGHT OR DAY - Franz Ferdinand DREAMS OF TOKYO - Ty Walker and the Humanoids WINDOW - The Weather Station FEEL THE WAY I DO - American Darlings E-Y-O-R-E (THAT'S ME) - Frog Eyes GOD GAVE ME FEET FOR DANCING - Ezra Collective, Yasmin Lacey NO CAFFEINE - Marika Hackman JUSTICE TO A SCREAM - Coner Oberst, Craig Wedren YOU'RE THE BEST - Paley Brothers
durée : 00:54:35 - Very Good Trip - par : Michka Assayas - Pour cette émission, démarrage en douceur sur un rythme flottant, ce qui ne veut pas dire que la voix est sans intensité. Bien au contraire. - réalisé par : Stéphane Ronxin
Esta semana, en Islas de Robinson, retomamos la voz y nuestro paso habitual tras unas semanas de retirada. Volvemos, ya en la senda final del año, con más nuevos discos fabulosos. Suenan: BANANAGUN - "BRAVE CHILD OF A NEW WORLD" ("WHY IS THE COLOUR OF THE SKY?", 2024) / THE SONIC DAWN - "21ST CENTURY BLUES" ("PHANTOM", 2024) / NAP EYES - "ICE GRASS UNDERPASS" ("THE NEON GATE", 2024) / FRECKLE - "TARAVAL" (2024) / GRAVE FLOWERS BONGO BAND - "AUTUMN" (2023) / ECHOLALIA - "ODD ENERGY" (2024) / CHRIS COHEN - "SUNEVER" ("PAINT A ROOM", 2024) / EVA MAY - "WHERE DOES THE TIME GO" (2024) / DANA GAVANSKI - "BUSINESS OF THE ATTITUDE" (2024) / THE WEATHER STATION - "WINDOW" ("HUMANHOOD", 2025) / JENNIFER CASTLE - "LOUIS" ("CAMELOT", 2024)Escuchar audio
Kaum etwas, das Du Blonde aus Newcastle, UK nicht kann. Mit der neusten Platte «Sniff More Gritty» beweist Frontperson Beth Jeans Houghton, was alles möglich ist: Songwriting, Produktion, Mixing – alles DIY. Und das nächste Projekt steht schon an: Houghton bringt sich neu Game-Programmieren bei. +++ PLAYLIST +++ · 22:55 – RUINED von ADRIANNE LENKER · 22:50 – THIS IS MY CALIFORNIA von MARY IN THE JUNKYARD · 22:45 – 2468 von HORSEGIRL · 22:44 – BEAT ME UP von EZRA FURMAN & ALEX WALTON · 22:40 – SUPERSTAR von HINDS · 22:36 – UNIVERSAL CRUSH von MELTING STEINE · 22:31 – INTERIOR DESIGN von SOFTLANDER · 22:26 – PROFESSIONAL GHOSTS von SOFTLANDER · 22:22 – CALL ME BACK von SIRENS OF LESBOS FEAT. SADBOI/KABUSA ORIENTAL CHOIR · 22:19 – CAN'T LET YOU GO von LP GIOBBI FEAT. LITTLE JET · 22:16 – SWARM von EBBB · 22:11 – DE2 LOCURA von PAULA TAPE · 21:57 – SONG FOR BILL von KIIOTO · 21:54 – ANTARCTICA von DIVORCE · 21:49 – SEX MUSIC von BEAK> · 21:45 – PURE AT THE HEART von WARMDUSCHER · 21:42 – SORRY von NOTHING BUT THIEVES · 21:36 – DEATH FROM ABOVE von THRICE · 21:34 – MY BLOOD ON YOUR HANDS von PALEFACE SWISS · 21:30 – FLAT ON THE FLOOR von NICKELBACK · 21:24 – THE GALLOW von PALEFACE SWISS · 21:17 – TUSKEGEE von ZEAL AND ARDOR · 21:14 – LOUD BARK von MANNEQUIN PUSSY · 21:11 – JUSTICE TO A SCREAM von CONOR OBERST & CRAIG WEDREN · 21:05 – BELLS AND WHISTLES von BRIGHT EYES · 21:03 – WINDOW von THE WEATHER STATION · 20:57 – AFRIKAN DI ALIEN von PA SALIEU FEAT. BLACK SHERIF · 20:54 – I KILLED YOU von TYLER, THE CREATOR · 20:51 – ONE MORE STEP von ELLA THOMPSON · 20:47 – FLOATING PARADE von MICHAEL KIWANUKA · 20:42 – THE REST OF ME von MICHAEL KIWANUKA · 20:38 – GIRL, SO CONFUSING FEATURING LORDE von CHARLI XCX FEAT. LORDE · 20:38 – SOULBREAKER von A. G. COOK · 20:34 – CHILL OUT von WITCH POST · 20:31 – SECOND BEST von GGLUM · 20:27 – PERFECT von DU BLONDE · 20:23 – KING OF SWEDEN von FUTURE ISLANDS · 20:16 – PELICAN CANYON von DU BLONDE & SAMUEL T. HERRING · 20:13 – TV STAR von DU BLONDE · 20:09 – LUCKY von DU BLONDE · 20:04 – WILL ANYBODY EVER LOVE ME? von SUFJAN STEVENS
In episode 217 of America Adapts, we dive into World Wildlife Fund's ManglarIA (“AI for Mangroves” in Spanish), a new initiative supported by Google.org, Google's philanthropic arm. This pioneering initiative is using advanced technology, including Artificial Intelligence (AI), to understand how mangrove ecosystems and their contributions to communities are affected by climate change and its impacts. You will take a journey to the Yucatán in Mexico as we visit some spectacular mangrove forests with WWF Mexico staff, and you'll learn how they are using state-of-the art sensors and drones to collect needed data and using AI to help with coastal adaptation planning. You'll also hear from local Mexican community members who are participating in and benefiting from the project. This episode highlights the groundbreaking adaptation work WWF is doing to adapt our natural systems to a changing climate. Transcript available here. Topics covered: Overview of WWF's ManglarIA project, which focuses on using AI to understand the impacts of climate change on mangrove ecosystems Importance of mangroves for carbon storage, coastal protection, and local economies in Mexico and the Yucatan Peninsula Role of local communities in installing sensors, providing observations, and benefiting from weather stations Concerns about AI's energy consumption and how the ManglarIA project is addressing it Explanation of AI fundamentals, applications, and challenges by WWF's Chief Data Scientist Google.org's support for climate adaptation efforts using AI and other technologies Field trip to the Rio Lagartos Biosphere Reserve in Mexico and interviews with local community members Experts in this Episode: · Shaun Martin, Vice President, Climate Change Adaptation and Resilience, World Wildlife Fund - US · David Thau, Global Data and Technology Lead Scientist, World Wildlife Fund – US · Brigette Hoyer Gosselink – Director of AI and Sustainability, Google.org · Alejandra Calzada, Climate Change Adaptation Coordinator, World Wildlife Fund - Mexico · Gonzalo Sanson, Coastal Ecosystems Senior Officer, World Wildlife Fund - Mexico · Frida Castillo, field officer, Yucatan · Elena Meza Conde, hotel owner, Villa de Pescadores, Mexico · Manuel Marrufo, beekeeper, Ria Lagartos, Mexico · Gammariel Maldonado, ecotourism service provider, Yalmakan, Mexico Check out the America Adapts Media Kit here! Subscribe to the America Adapts newsletter here. Donate to America Adapts Listen to America Adapts on your favorite app here! Facebook, Linkedin and Twitter:https://www.facebook.com/americaadapts/ @usaadapts https://www.linkedin.com/in/doug-parsons-america-adapts/ Resources and Links in this episode: ManglarIA: Using artificial intelligence to save mangroves in a changing climatehttps://www.worldwildlife.org/projects/manglaria-using-artificial-intelligence-to-save-mangroves-in-a-changing-climate Weather Station in Rio Lagartos, Mexicohttps://www.weatherlink.com/embeddablePage/show/24bee1142da4472cbeacb45521bf069a/wide Google Environmental Report 2024https://www.gstatic.com/gumdrop/sustainability/google-2024-environmental-report.pdf https://www.worldwildlife.org/initiatives/mangroves-for-community-and-climate WWF Environment and Disaster Management Program https://envirodm.org/ WWF US https://www.worldwildlife.org/ Global Mangrove Alliance: https://www.mangrovealliance.org/ Doug Parsons and Speaking Opportunities: If you are interested in having Doug speak at corporate and conference events, sharing his unique, expert perspective on adaptation in an entertaining and informative way, more information can be found here! Follow on Apple PodcastsFollow on Android Now on Spotify! List of Previous Guests on America Adapts Follow/listen to podcast on Apple Podcasts. Donate to America Adapts, we are now a tax deductible charitable organization! Federal Reserve Bank of San Francisco Strategies to Address Climate Change Risk in Low- and Moderate-income Communities - Volume 14, Issue 1https://www.frbsf.org/community-development/publications/community-development-investment-review/2019/october/strategies-to-address-climate-change-low-moderate-income-communities/ Podcasts in the Classroom – Discussion guides now available for the latest episode of America Adapts. These guides can be used by educators at all levels. Check them out here! The 10 Best Sustainability Podcasts for Environmental Business Leadershttps://us.anteagroup.com/news-events/blog/10-best-sustainability-podcasts-environmental-business-leaders Join the climate change adaptation movement by supporting America Adapts! Please consider supporting this podcast by donating through America Adapts fiscal sponsor, the Social Good Fund. All donations are now tax deductible! For more information on this podcast, visit the website at http://www.americaadapts.org and don't forget to subscribe to this podcast on Apple Podcasts. Podcast Music produce by Richard Haitz Productions Write a review on Apple Podcasts ! America Adapts on Facebook! Join the America Adapts Facebook Community Group. Check us out, we're also on YouTube! Executive Producer Dr. Jesse Keenan Subscribe to America Adapts on Apple Podcasts Doug can be contacted at americaadapts @ g mail . com Podcast Music produce by Richard Haitz Productions Write a review on Apple Podcasts ! America Adapts on Facebook! Join the America Adapts Facebook Community Group. Check us out, we're also on YouTube! Executive Producer Dr. Jesse Keenan Subscribe to America Adapts on Apple Podcasts Doug can be contacted at americaadapts @ g mail . com
Campus Indie Pop Rock, une émission de Radio Campus Tours, un lundi sur deux de 20h à 21h. Voici le podcast et la playlist de l'émission du 28 octobre 2024 : The Weather Station – Neon Signs Amyl and The Sniffers – Big Dreams Larkin Poe – If God Is A Woman New Dad – Under My Skin […] L'article Campus Indie Pop Rock – 28 oct 2024 est apparu en premier sur Radio Campus Tours - 99.5 FM.
On this week's Talkhouse episode we've got a pair of talented musicians in a chummy chat about making songs and making a life while making songs. It's Melina Duterte, aka. Jay Som, and Pascal Stevenson, aka. Fashion Club. Stevenson just released the second Fashion Club album, A Love You Cannot Shake, but it's different enough than the first that it almost feels like a debut. That surely has something to do with the fact that it's the first Fashion Club music since Stevenson's gender transition; there's a genre freedom that wasn't as evident on the first one, which felt a bit closer to Stevenson's indie-leaning band Moaning. A Love You Cannot Shake clearly honors big pop music but it frequently swerves before giving into any obvious trappings. She found some fantastic guests to add to the sideways fun, too, including Talkhouse Podcast alumni Perfume Genius and Julie Byrne as well as the other half of today's conversation, Jay Som. Now Jay Som made a splash with her first couple of bedroom-pop albums in 2015 and 2016, and though she hasn't released a new album since 2019's fantastic Anak Ko, she's been busy nonetheless, both starting some new projects, producing for other musicians, and playing bass for the indie-rock supergroup Boygenius. She's been working on new material of her own as well, and she had a song on the soundtrack to the critically acclaimed movie I Saw the TV Glow alongside like-minded artists like Caroline Polachek and The Weather Station. And of course there's her contribution to the Fashion Club record, “Ghost.” Check out that song right here. In this lively conversation, Stevenson and Duterte chat about songwriting, including Stevenson's tendency to start with the biggest parts and Duterte's opinion on what constitutes a “treat” while you're producing. They tell each other toward the end of the conversation which pop star they'd most like to write for, and we learn that Stevenson's specialty is what she calls “fucked-up ballads.” Enjoy. 0:00 – Intro 2:20 – Start of the chat 4:45 – On Fashion Club's album, A Love You Cannot Shake 9:20 – Melina loves Pascal's record 13:30 – Contrasting approaches to songwriting 16:36 – "Everyone's a little different when it comes to what I call 'treats'" 31:36 – "Do you think it's easier now to become a producer?" Thanks for listening to the Talkhouse Podcast, and thanks to Pascal Stevenson and Melina Duterte for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time! This episode is brought to you by DistroKid. DistroKid makes music distribution fun and easy with unlimited uploads and artists keep 100% of their royalties and earnings. To learn more and get 30% off your first year's membership, visit: distrokid.com/vip/talkhouse
We've hit the BIG 5-0 and we're still speaking to each other. It's delight to welcome to Episode 50 of This is Not Happening (TINH). An Album of the Month (AOTM) Podcast where in Part 1 we deep dive into an Album that one of us has chosen and in Part 2 we play 'Spin it or Bin it'. This is where we pick a theme and each select a song that represents that theme. We judge each others selections by asking the question 'Spin It or Bin It'?This month, in Part 1, David introduces the latest album from one of my favourite obsession artists, 'My Method Actor' by Nilifur Yanya. In Part 2, Spin It or Bin It, we return for our quarterly visit to the theme of 'New Music' ... anything released since August 1st.Part 1 | Nilifur Yanya | My Method ActorThis is the third full length studio album from Yanya. She is a super interesting artist blending soul, jazz, indie and a bunch of other sounds and influences in there. This album is something of a departure for her following her last 2 albums that perhaps embraced the indie side of her influences. This album is a super smart melding of all of her influences, definitely leaning more towards the soul and jazz side of her music. It feels like a return to some of her earliest EP releases and I love it for that fact.Listen to the album ... HEREWatch a video of her performing a track from her 2nd EP back in 2017 on the BBC Introducing stage ... HERE2 Tracks from the new album get a very low-fi video, watch them both HERE and HEREThe obligatory Jimmy Fallon performance link is ... HEREInteresting interview on 'The Talk.Com', this is a quick read and enlightening ... read it HEREPart 2 | Spin It or Bin It | New MusicSuper-simple, we all chose a track that we love from the last couple of months and ask each the simple binary question, Spin It or Bin It?Joey chose Wristwatch by MJ LendermanGuy chose Zero Sum by The SmileNolan chose Dafodil by Jamie XX and friendsDavid chose Neon Signs by The Weather StationSee you on Episode 51 ...We've been writing the blog for years come and have a look - https://thisisnothappening.net/
One of the most common sources of conversation among farmers is the weather. This makes sense, as growers’ livelihoods often depend on the balance between too hot or cold, too wet or too dry. Monitoring environmental conditions throughout the growing season can help growers the necessary decisions that impact final yield. Weather stations are one way... Read More
During the 1970s, archaeologists and fishermen stumbled across an abandoned military weather station on the coast of Labrador. It was labeled “Canadian Meteor Service.” The problem was: the Canadian Meteor Service didn't put it there. In fact, the Canadian Meteor Service didn't even exist.MORE: You can visit Weather Station Kurt at the Canadian War Museum in Ottawa, which is only about 980 miles from its original location!
A proposal to expand the LA city council will not make the November ballot. A weather station is being relocated from USC to Dodger Stadium. The endangered Devils Hole Pupfish population is improving. Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.com. Support the show: https://laist.com
Tamara Lindeman is a musician from the band, The Weather Station. Their latest album is HOW IS IT THAT I SHOULD LOOK AT THE STARS.---The Generative Benefits of Investigating Your Shame with Heather Radke Call Zak on the advice show hotline @ 844-935-BEST---Wanna help Zak continue making this show? Become a Best Advice Show Patron @ https://www.patreon.com/bestadviceshow---Share this episode on IG @BestAdviceShow
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