Podcasts about Welles

The long journey for the July 2025 New Music Train ends today, with a pair of old record hounds – Scot Isom and Patrick –  wrapping up the monthly picks. They discuss new music from Sloan, Dropkick Murphys, Margot Price (ft. Jesse Welles), Theon Cross and Eddy Current Suppression Ring. Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

It's been a while since I've done one of these episodes and in my opinion it's been far too long! There is always a ton of great music out there and sometimes it's hard to keep up with what's going on. This week we take a look at new music from Margo Price/Jesse Welles, Tyler Childers, Charley Crockett, Wednesday, and SG Goodman. I love all of these songs and we take a look at what makes them great. I hope you dig it! 

En los inicios del cine no existían los directores. Esa figura llegó más tarde desde el teatro, y el oficio se aprendió sobre la marcha. Pero ¿qué significa dirigir? El debut de Charlie Kaufman como director fue con la película “Synecdoche, New York” (2008). Se trata, de hecho, de una fábula sobre el acto de dirigir, es una obra sobre el miedo, el tiempo y la imposibilidad de abarcar la vida entera en el arte.

Our August Special Subject is Literature vs. Welles vs. Moreau: we discuss the three finished films that Orson Welles made with Jeanne Moreau, whom he considered "the greatest actress in the world." The Trial (1962) stars Anthony Perkins in an adaptation of the Kafka novel; Chimes at Midnight (1965) stars Welles as Falstaff in an adaptation of Shakespeare's Henriad focused on the Prince Hal/Falstaff relationship; and The Immortal Story (1968) stars Welles and Moreau in an adaptation of a Karen Blixen story. Come for Welles' handling of these immortal stories, stay to find out how Moreau assisted the magician.  Time Codes: 0h 00m 25s:    THE TRIAL (1962) [dir. Orson Welles] 0h 35m 24s:    CHIMES AT MIDNIGHT (1965) [dir. Orson Welles] 0h 52m 19s:    THE IMMORTAL STORY (1968) [dir. Orson Welles] +++   * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Jesse Welles is a singer-songwriter. Look for his new album, "Devil's Den," on August 22. www.wellesmusic.com Get a free welcome kit with your first subscription of AG1 at https://drinkag1.com/joerogan Try ZipRecruiter FOR FREE at https://ziprecruiter.com/rogan Learn more about your ad choices. Visit podcastchoices.com/adchoices

⸻ Podcast: Redefining Society and Technologyhttps://redefiningsocietyandtechnologypodcast.com _____________________________This Episode's SponsorsBlackCloak provides concierge cybersecurity protection to corporate executives and high-net-worth individuals to protect against hacking, reputational loss, financial loss, and the impacts of a corporate data breach.BlackCloak:  https://itspm.ag/itspbcweb_____________________________A Musing On Society & Technology Newsletter Written By Marco Ciappelli | Read by TAPE3August 18, 2025The Narrative Attack Paradox: When Cybersecurity Lost the Ability to Detect Its Own Deception and the Humanity We Risk When Truth Becomes OptionalReflections from Black Hat USA 2025 on Deception, Disinformation, and the Marketing That Chose Fiction Over FactsBy Marco CiappelliSean Martin, CISSP just published his analysis of Black Hat USA 2025, documenting what he calls the cybersecurity vendor "echo chamber." Reviewing over 60 vendor announcements, Sean found identical phrases echoing repeatedly: "AI-powered," "integrated," "reduce analyst burden." The sameness forces buyers to sift through near-identical claims to find genuine differentiation.This reveals more than a marketing problem—it suggests that different technologies are being fed into the same promotional blender, possibly a generative AI one, producing standardized output regardless of what went in. When an entire industry converges on identical language to describe supposedly different technologies, meaningful technical discourse breaks down.But Sean's most troubling observation wasn't about marketing copy—it was about competence. When CISOs probe vendor claims about AI capabilities, they encounter vendors who cannot adequately explain their own technologies. When conversations moved beyond marketing promises to technical specifics, answers became vague, filled with buzzwords about proprietary algorithms.Reading Sean's analysis while reflecting on my own Black Hat experience, I realized we had witnessed something unprecedented: an entire industry losing the ability to distinguish between authentic capability and generated narrative—precisely as that same industry was studying external "narrative attacks" as an emerging threat vector.The irony was impossible to ignore. Black Hat 2025 sessions warned about AI-generated deepfakes targeting executives, social engineering attacks using scraped LinkedIn profiles, and synthetic audio calls designed to trick financial institutions. Security researchers documented how adversaries craft sophisticated deceptions using publicly available content. Meanwhile, our own exhibition halls featured countless unverifiable claims about AI capabilities that even the vendors themselves couldn't adequately explain.But to understand what we witnessed, we need to examine the very concept that cybersecurity professionals were discussing as an external threat: narrative attacks. These represent a fundamental shift in how adversaries target human decision-making. Unlike traditional cyberattacks that exploit technical vulnerabilities, narrative attacks exploit psychological vulnerabilities in human cognition. Think of them as social engineering and propaganda supercharged by AI—personalized deception at scale that adapts faster than human defenders can respond. They flood information environments with false content designed to manipulate perception and erode trust, rendering rational decision-making impossible.What makes these attacks particularly dangerous in the AI era is scale and personalization. AI enables automated generation of targeted content tailored to individual psychological profiles. A single adversary can launch thousands of simultaneous campaigns, each crafted to exploit specific cognitive biases of particular groups or individuals.But here's what we may have missed during Black Hat 2025: the same technological forces enabling external narrative attacks have already compromised our internal capacity for truth evaluation. When vendors use AI-optimized language to describe AI capabilities, when marketing departments deploy algorithmic content generation to sell algorithmic solutions, when companies building detection systems can't detect the artificial nature of their own communications, we've entered a recursive information crisis.From a sociological perspective, we're witnessing the breakdown of social infrastructure required for collective knowledge production. Industries like cybersecurity have historically served as early warning systems for technological threats—canaries in the coal mine with enough technical sophistication to spot emerging dangers before they affect broader society.But when the canary becomes unable to distinguish between fresh air and poison gas, the entire mine is at risk.This brings us to something the literary world understood long before we built our first algorithm. Jorge Luis Borges, the Argentine writer, anticipated this crisis in his 1940s stories like "On Exactitude in Science" and "The Library of Babel"—tales about maps that become more real than the territories they represent and libraries containing infinite books, including false ones. In his fiction, simulations and descriptions eventually replace the reality they were meant to describe.We're living in a Borgesian nightmare where marketing descriptions of AI capabilities have become more influential than actual AI capabilities. When a vendor's promotional language about their AI becomes more convincing than a technical demonstration, when buyers make decisions based on algorithmic marketing copy rather than empirical evidence, we've entered that literary territory where the map has consumed the landscape. And we've lost the ability to distinguish between them.The historical precedent is the 1938 War of the Worlds broadcast, which created mass hysteria from fiction. But here's the crucial difference: Welles was human, the script was human-written, the performance required conscious participation, and the deception was traceable to human intent. Listeners had to actively choose to believe what they heard.Today's AI-generated narratives operate below the threshold of conscious recognition. They require no active participation—they work by seamlessly integrating into information environments in ways that make detection impossible even for experts. When algorithms generate technical claims that sound authentic to human evaluators, when the same systems create both legitimate documentation and marketing fiction, we face deception at a level Welles never imagined: the algorithmic manipulation of truth itself.The recursive nature of this problem reveals itself when you try to solve it. This creates a nearly impossible situation. How do you fact-check AI-generated claims about AI using AI-powered tools? How do you verify technical documentation when the same systems create both authentic docs and marketing copy? When the tools generating problems and solving problems converge into identical technological artifacts, conventional verification approaches break down completely.My first Black Hat article explored how we risk losing human agency by delegating decision-making to artificial agents. But this goes deeper: we risk losing human agency in the construction of reality itself. When machines generate narratives about what machines can do, truth becomes algorithmically determined rather than empirically discovered.Marshall McLuhan famously said "We shape our tools, and thereafter they shape us." But he couldn't have imagined tools that reshape our perception of reality itself. We haven't just built machines that give us answers—we've built machines that decide what questions we should ask and how we should evaluate the answers.But the implications extend far beyond cybersecurity itself. This matters far beyond. If the sector responsible for detecting digital deception becomes the first victim of algorithmic narrative pollution, what hope do other industries have? Healthcare systems relying on AI diagnostics they can't explain. Financial institutions using algorithmic trading based on analyses they can't verify. Educational systems teaching AI-generated content whose origins remain opaque.When the industry that guards against deception loses the ability to distinguish authentic capability from algorithmic fiction, society loses its early warning system for the moment when machines take over truth construction itself.So where does this leave us? That moment may have already arrived. We just don't know it yet—and increasingly, we lack the cognitive infrastructure to find out.But here's what we can still do: We can start by acknowledging we've reached this threshold. We can demand transparency not just in AI algorithms, but in the human processes that evaluate and implement them. We can rebuild evaluation criteria that distinguish between technical capability and marketing narrative.And here's a direct challenge to the marketing and branding professionals reading this: it's time to stop relying on AI algorithms and data optimization to craft your messages. The cybersecurity industry's crisis should serve as a warning—when marketing becomes indistinguishable from algorithmic fiction, everyone loses. Social media has taught us that the most respected brands are those that choose honesty over hype, transparency over clever messaging. Brands that walk the walk and talk the talk, not those that let machines do the talking.The companies that will survive this epistemological crisis are those whose marketing teams become champions of truth rather than architects of confusion. When your audience can no longer distinguish between human insight and machine-generated claims, authentic communication becomes your competitive advantage.Most importantly, we can remember that the goal was never to build machines that think for us, but machines that help us think better.The canary may be struggling to breathe, but it's still singing. The question is whether we're still listening—and whether we remember what fresh air feels like.Let's keep exploring what it means to be human in this Hybrid Analog Digital Society. Especially now, when the stakes have never been higher, and the consequences of forgetting have never been more real. End of transmission.___________________________________________________________Marco Ciappelli is Co-Founder and CMO of ITSPmagazine, a journalist, creative director, and host of podcasts exploring the intersection of technology, cybersecurity, and society. His work blends journalism, storytelling, and sociology to examine how technological narratives influence human behavior, culture, and social structures.___________________________________________________________Enjoyed this transmission? Follow the newsletter here:https://www.linkedin.com/newsletters/7079849705156870144/Share this newsletter and invite anyone you think would enjoy it!New stories always incoming.___________________________________________________________As always, let's keep thinking!Marco Ciappellihttps://www.marcociappelli.com___________________________________________________________This story represents the results of an interactive collaboration between Human Cognition and Artificial Intelligence.Marco Ciappelli | Co-Founder, Creative Director & CMO ITSPmagazine  | Dr. in Political Science / Sociology of Communication l Branding | Content Marketing | Writer | Storyteller | My Podcasts: Redefining Society & Technology / Audio Signals / + | MarcoCiappelli.comTAPE3 is the Artificial Intelligence behind ITSPmagazine—created to be a personal assistant, writing and design collaborator, research companion, brainstorming partner… and, apparently, something new every single day.Enjoy, think, share with others, and subscribe to the "Musing On Society & Technology" newsletter on LinkedIn.

Es imposible abarcar la vida, el talento y la obra de Orson Welles. Nuestro invitado, Esteve Riambau, cienasta, crítico, asesor de la gran exposición sobre Welles que prepara la Cinemateca Francesa con motivo del 40 aniversario de su muerte, lleva toda su vida estudiándolo y no se lo acaba. Nos ayuda a hacer un repaso de las estancias de Welles aquí en España, a donde llegó por primera vez con 17 años y de donde nunca se terminó de ir, hasta el punto de que sus cenizas reposan en Ronda, en la finca de su amigo el torero Antonio Ordóñez. 

Hey everyone, James Scully here, producer and host of Breaking Walls, the docu-podcast on the history of US Network Radio Broadcasting. I wanted to let you know about a new webinar I'm doing next Thursday August 14th at 7PM eastern time. It's the final part of a 3-part mini series on Orson Welles' life and career. "Orson Welles' Career, Part 3: Welles In Europe (1948 - 1956)," is on an often-forgotten and underrated part of Orson Welles' career during his years living and working in Europe. It will focus on the radio, screen, and stage work he was involved in during this time, complete with visuals and audio clips. Here's a link to register — https://www.eventbrite.com/e/orson-welles-career-part-3-welles-in-europe-1948-1956-webinar-tickets-1445320836529?aff=oddtdtcreator If you can't make, don't worry, I'll be emailing all who register a video of the webinar once its done so you can watch it later. And if you missed the first two parts of this webinar series (Part 1 was on his early career and Part 2 focused on late 1941 through 1948), I'll email you a video link to watch the first two presentations (for free) when you register for the Part 3 event. Here's an overview of the webinar: Throughout the last one-hundred years of American entertainment, few people have gotten as strong a reaction as Orson Welles. A rare quadruple threat: writer, director, actor, producer, Welles found immense success on stage, in films, on television, and in radio. In fact, he took center stage in the United States on more than one occasion… and not always to a positive reaction, but always with pushing the creative envelope in mind. Welles managed to alienate the newspaper industry, the Hollywood studio system, and occasionally even the broadcasting networks, but he rarely had a door closed in his face. Welles was known to work himself to the bone, and party even harder. He had romances with some of the most famous and attractive women in the country, including Virginia Nicholson, Dolores del Rio, and Rita Hayworth. He was hailed as a genius, a charlatan, a magician, an incredible friend, an a***hole, a hard-driver, a steady worker, and a man who drank too much. Welles liked to joke that he began his career on top and spent the rest of his life working his way down. Such a strong-willed, creative person deserves an in-depth look. Join James Scully — Radio historian and producer/host of Breaking Walls, the docu-podcast on the history of U.S. network radio broadcasting for the last of a three-part webinar that deeply explores the life and career of Orson Welles, with a strong focus on his two decades working in American and British radio. In Part 3: Orson Welles In Europe (1948 - 1956) we'll explore Welles' time in Europe from the late 1940s through the mid 1950s, with audio clips and highlights including: • HUAC and Leaving the U.S • Harry Alan Towers, and Harry Lime • Othello and The Black Museum • Song of Myself and Theatre Royal • The Adventures of Sherlock Holmes and Moriarity • The BBC Sketchbook and Moby Dick • Mr Lincoln and Mr Arkadin • Returning to the U.S. • Tomorrow and Yesterday Afterward, I'll do a Q&A — any and all questions are welcomed and encouraged! Can't attend live? Not to worry! I'll be recording the event and sending the video out to all guests who register so you can watch it later. See you (virtually) there!

The June 2025 New Music Train is winding up this month's journey, with Scot Isom and Patrick on board to pull it into the depot to get ready for next month's trip. We close June 2025 New Music selections with songs from Whiskey Myers, Tropical F*ck Storm, Jesse Welles and SG Goodman. Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

In this episode, we dive deep into Orson Welles' ambitious and visually stunning 1951 adaptation of Shakespeare's Othello. Known for its turbulent production—spanning years, continents, and funding challenges—Welles' Othello is as much a story about the making of a film as it is about the tragic Moor of Venice. We'll explore how Welles' unique cinematic vision transformed Shakespeare's text into a noir-infused, dreamlike masterpiece, analyzing his bold use of shadow, striking close-ups, and inventive editing. We'll also discuss the film's performances, including Welles' commanding yet vulnerable take on Othello and Micheál Mac Liammóir's chilling portrayal of Iago. Finally, we'll examine how this film fits into Welles' career and why it remains one of his most underappreciated works.Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast, Twitter @SilverVideo, and TikTok silver.screen.vid.

Escuchamos al neerlandés Ferdous con "Carousel", a Margo Price junto a Jesse Welles en una canción con esencia de Bob Dylan, el disco póstumo de Mark Stewart y lo nuevo de la noruega Sigrid. MARGO PRICE FT. JESSE WELLES - Don't Wake Me UpMARK STEWART - Memory of YouNICK CAVE & THE BAD SEEDS - O Wow O Wow (How Wonderful She Is)SIGRID - JellyfishDEBBY FRIDAY - Bet On MeSG LEWIS – Sugar (Feat. Shygirl)KRAAK & SMAAK and PWNT - Nothing Is ForeverSTILL BLANK – Ain’t Quite RightDEATH CAB FOR CUTIE - Gold RushTHE NATIONAL - Don't Swallow the CapAMBER MARK - Sweet SerotoninAMY WINEHOUSE - You Know I'm Not GoodLOADED HONEY - Cisco BayOLIVIA DEAN - Lady LadyFERDOUS - CarouselBARRY CAN'T SWIM - Different Escuchar audio

Hey everyone, James Scully here, producer and host of Breaking Walls, the docu-podcast on the history of US Network Radio Broadcasting. I wanted to let you know about a new webinar I'm doing this Thursday July 17th, at 7PM on Orson Welles' early career of Orson Welles through the end of 1941. If you can't make it live this Thursday July 17th at 7PM, don't worry, I'll be emailing every person who registers a video of the webinar once it's over. Here's a link to register: https://www.eventbrite.com/e/orson-welles-career-part-1-from-boy-wonder-to-trouble-maker-webinar-tickets-1445315741289?aff=oddtdtcreator Some more information: Throughout the last one-hundred years of American entertainment, few people have gotten as strong a reaction as Orson Welles. A rare quadruple threat: writer, director, actor, producer, Welles found immense success on stage, in films, on television, and in radio. In fact, he took center stage in the United States on more than one occasion… and not always to a positive reaction, but always with pushing the creative envelope in mind. Welles managed to alienate the newspaper industry, the Hollywood studio system, and occasionally even the broadcasting networks, but he rarely had a door closed in his face. Welles was known to work himself to the bone, and party even harder. He had romances with some of the most famous and attractive women in the country, including Virginia Nicholson, Dolores del Rio, and Rita Hayworth. He was hailed as a genius, a charlatan, a magician, an incredible friend, an a***hole, a hard-driver, a steady worker, and a man who drank too much. Welles liked to joke that he began his career on top and spent the rest of his life working his way down. Such a strong-willed, creative person deserves an in-depth look. In Part 1: From Boy Wonder To Trouble Maker (1931-1941) we'll explore Welles' early life, through his explosion of success in the 1930s all the way to the end of 1941, complete with audio clips and highlights including: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. How its success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • How Joseph Cotton introduced Orson to Rita Hayworth Afterward, I'll do a Q&A — any and all questions are welcomed and encouraged! Can't attend live? Not to worry! I'll be recording the event and sending the video out to all guests who register so you can watch it later. See you (virtually) there!

Send us a textIn this episode, it was wonderful to speak with my friend and fellow Priestess, Elyse Welles. Elyse is a Witch, sacred travel leader, and the author behind Seeking Numina. Elyse is also the co-host of the Magick Kitchen Podcast, a top spirituality podcast where she shares wisdom on Witchcraft, ritual, and more.In today's episode, we talked about the act of pilgrimage to ancient sites in Greece, divination, and devotional relationships with Land spirits and Gods. Elyse travels widely, and her experiences helping others seek connection to Spirit made for an excellent conversation. After this episode was recorded back in April, Elyse and I also spent 10 days in Greece together, researching and visiting oracular sites dedicated to Apollo and Zeus. If you'd like to hear our discussion of that trip on Elyse's Seeking Numina show (recorded at Dodona, under the sacred Oak of Zeus) you can click the link in the show notes!Enjoy the conversation...Find Elyse Welles Online:Visit Elyse's website:  https://www.seekingnumina.comPre-order her books: Books & Writings | Elyse WellesListen to the Magick Kitchen Podcast: https://www.magickkitchenpodcast.comCourses with Elyse: Sacred Wild Priestess: An Immersive Training Experience | Elyse WellesSeeking Numina episode featuring Elyse and JoAnna at Dodona, in Greece:Watch on YouTube Listen on SpotifyAnnouncements & Ways to Support the Show:Find us on our NEW YouTube channel, and join for exclusive content: The Coffee and Divination Podcast - YouTubeReach out to us via Instagram: Divination Podcast | Hosted by JoAnna Farrer (@coffeeanddivination) • Instagram photos and videosCoffee and Divination Website: http://www.coffeeanddivination.comNorth Wyldewood Coven and Tradition Website: https://www.northwyldewoodtradition.orgLearn from the North Wyldewood Coven: Enter the Wyldewood - The Birch PathTheme music: "Come with Me" by JoAnna Farrer, featuring Alasdair Fraser, Natalie Haas, and Yann Falquet.Ending music: "Pollen Path" by Elana Low.NYC folks: Join us on Sunday, July 20, 2025 for our first Witch Camp Day in Prospect Park, Brooklyn. As part of the full day of ritual and classes outdoors, JoAnna will be teaching an intermediate-level workshop on divination. Limited spots available - visit Wyldewood Witch Day Camp | North Wyldewood for details.

Variety and Drama on a FridayFirst a look at the events of the dayThen, The Chase and Sanborn Hour, originally broadcast July 11, 1937, 88 years ago with guest Gladys George.   Charlie McCarthy tells Edgar Bergen about his music lessons. Don Ameche and guest Gladys George appear in, "Personal Appearance." W. C. Fields announces that he's leaving on vacation. The verbal battle with Charlie McCarthy continues. Followed by The Mercury Theater on the Air starring Orson Welles, originally broadcast July 11, 1938, 87 years ago, Bram Stokers Dracula. A chilling radio adaptation of Bram Stoker's novel, featuring Welles as both Count Dracula and Dr. Seward and Martin Gabel as Dr Van Helsing. Finally, The Couple Next Door starring Peg Lynch and Alan Bunce, originally broadcat July 11, 1960, 65 years ago, Taxidermist Problems.Thanks to Adele for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamIf you like what we do here, visit our friend Jay at http://radio.macinmind.com for great old time radio shows 24 hours a day

On this episode, we're joined by Mara and Robert Cagnetta of Sutherland Welles. We dive into their exceptional real Tung Oil finishing products and also explore Rob's work in historic building preservation and restoration. It is a fun and informative conversation covering all aspects of their truly outstanding finishing products. Check it out!Sutherland Wellssutherlandwelles.com@sutherlandwelles on InstagramSutherland Welles on YouTubeSutherland Welles Ltd. on Facebookheritagerestoration.net@heritagerestoration on InstagramHeritage Restoration, Inc. on FacebookSutherland Welles Finishes - Use code "MWA25" for 10% off your first orderTexas Woodworking Festival - Use code "MWA25" to 10% off your tickets MWA Podcast - Patreon Page@mwa_podcast on InstagramHosts' Contact Info:Kyle Barton@barton.kyle & @bbcustomtools on Instagrambbcustomtools.comOn Youtube under BB Custom Tools & Kyle BartonKyle Barton on FacebookSean Wisniewski@Seanw78 on most social mediaMark Hicksjointeffort.netJointeffort.net/mwa@markbuildsit on InstagramOn Youtube under Plate 11 / Joint EffortBrian Obst@obstwoodworks on Instagram

Episode 344 of RevolutionZ begins with some reflections on Zohran Mamdani's inspiring electoral win. How? By his campaign mobilizing an astonishing 50,000 volunteers. How? By he and his campaign feeling real and honest, and by offering real and meaningful vision. By electoral politics and grassroots activism becoming a mutual aid tag team rather than competing opponents. The episode then moves from Gaza's gut wrenching fascistic horrors to our own American "Twilight Zone" reality that seeks to entrench fascistic tendencies as normal life. The episode then  takes a break from its usual patterns to look at some music, some lyrics, hoping to find some clarity, courage, and, well, dignity. Hoping to find some potential sources for an emerging new youth culture which is something that we all, young and older alike, profoundly need to create, experience, and embrace. Bruce Springsteen's "Youngstown" documents capitalism's broken promises. His "The Ghost of Tom Joad" reminds our moral obligations. But mainly the episoode hopes to introduce and propel some some emerging voices of today, not only old ones from yesterday. We hear Jesse Wells' and Carsey Blanton's unflinching and yet also moving and eloquent lyrics that directly confront power. "Rich people been fucking us all." Back not too long, we  re-surface Iris DeMent's "Wasteland of the Free" and Bob Dylan's "Gates of Eden" and "Dignity." The point of it all is to celebrate how artists have long conveyed a  vocabulary of resistance that we desperately need today.I hope the songs whose lyrics I offer reveal that cultural resistance isn't separate from political action—it's an essential aid. It helps us imagine and create more just futures. Even more, it can help establish a mood, a disposition, aspirations, and confidence in the face of deadly hate. In the coming months of defense and then in coming years of positive gain, we will need to disobey authoritarianism, eliminate ecological nightmare, and reduce staggering inequality. We will need to entrench in their place self managed participation, productive and ecological sanity, and real soli;darity and equity. I hope the lyrics in this episode and others that you go on to find, to sing, and to hear, music and all, can help provide the rebellious soundtrack for our necessary actions. When I was a child we had that. The culture around us propelled us. We didn't win all we needed to, but some. Now new generations have to prevent the elimination of all that and, more, have to expand the victory vastly further. I hope artists and their audiences do their part to help propel all that. It ought to come naturally.Support the show

This week on Movie Mistrial, we tackle the titan of classic cinema—Orson Welles' Citizen Kane. Is it truly the greatest film of all time, or has its reputation eclipsed its relevance?Citizen Kane revolutionized filmmaking with groundbreaking cinematography, non-linear storytelling, and deep character study. Welles' portrayal of Charles Foster Kane is as complex as the real-life figures who inspired him, and the film's themes of ambition, isolation, and legacy still resonate today. “Rosebud” isn't just a mystery—it's a cinematic milestone.While Citizen Kane is revered by critics and scholars, some modern audiences find its pacing slow and its emotional impact muted. Its innovations, though important historically, may feel less striking to viewers accustomed to decades of films that followed its lead.Join us as we peel back the layers of Citizen Kane—discussing its artistry, its influence, and whether it still deserves the crown in today's cinematic landscape.Connect with us and share your thoughts:Twitter: http://tiny.cc/MistrialTwitterFacebook: http://tiny.cc/MistrialFBInstagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.

The May 2025 New Music Train winds up it's song-filled journey today with a jaunt through Midwestern America. On board are Scot Isom and Sunny Varney and they bring us new work from Menno Versteeg, Ezra Furman, Jesse Welles, Bibelhauser Brothers and Sam Bush, Deraps, Paralyzed and Slung.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Elmyr De Hory was the greatest art forger of all time.  By the time he was exposed in 1967, it's estimated he had created over 1000 works that had been sold as by Picasso, Modigliani, Matisse, Derand, Duffy, and various other modern masters, and many of which remain undetected in institutions and private collections around the world.   But does it matter if we believe it's a Picasso and we enjoy it as such?   Mark Forgy came to Europe as a 20-year-old backpacker in 1969, bumped into Elmyr on a quayside in Ibiza, and lived with him for seven of the years between his exposure as the greatest art forger of all time in 1967 and his suicide in 1976.     It was a whirlwind life of culture, glamour, intrigue, Hollywood stars, dodgy writers, and psychopathic villains, all of which can be glimpsed in the extraordinary Orson Welles film ‘F For Fake'. Welles visited Elmyr in Ibiza and used his life for a meditation on the poetry of what 'fake' means, of what truth means, of what facts mean in comparison with a good story, a great image, an extraordinary performance.   Mark came to the Bureau to tell us all about it and to muse on whether the products of Elmyr's undeniable genius were really any less authentic than the art world itself.   In our time of fakery, epic frauds, fake news, fake gurus, fake identities, deep fakes, 'my truth not THE truth', feelings over facts, a time when the distinction between Reality and AI-generated content is getting very difficult to spot, this story seems very prescient..   Mark's book The Forger's Apprentice Orson Welles' 'F For Fake'   Photographs courtesy Mark Forgy/   #ElmyrDeHory #BureauOfLostCulture #Elmyr #forgery #artforgery #fake #artworld #OrsonWelles #FforFake #Ibiza #fernandlegros #markforgy    

EPISODE #457-- After another delay, we are back. This time we're talking about the LA-based pot-boiler/paranoia thriller, MIRACLE MILE (1988), directed by Steve de Jarnatt, staring Anthony Edwards, Mare Winningham, and Brian Thompson (you know, the guy with the face from The Terminator).  We also talk about Orson Welles' THE TRIAL (1962), Danny Boyle's 28 YEAR LATER (2025), Doc and Publick's THE VENTURE BROS (2004 -2022), and MICKEY 17 (2025). A nice mix of good little movies. OTHER LINKS-- Join the cause at Patreon.com/Quality. Follow the us on on Bluesky at kislingconnection and cruzflores, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Also, I've got a newsletter, so maybe go check that one out, too. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Singer-Songwriter Jesse Welles has captured the world's attention with his viral "Under The Powerlines" videos, which has introduced him to a fanbase ready to hear what else he has to say. In this chat, he talks to Matt Pelsor about his influences, both musical and literary; and about his newfound friendship with famous fan Dave Matthews.

Citizen Accused: Orson Welle's Film of Franz Kafka's The Trial Few authors can lay claim to creating a genre, however it could be argued that Franz Kafka did just that with stories like The Metamorphosis, In the Penal Colony, and this week's cinematic adaptation, The Trial. The term Kafkaesque , instantly builds a sense of excitement, confusion, and paranoia in readers - many whom are only familiar with the term and not necessarily the author. This week we look at Orson Welle's 1962 adaptation of Kafka's 1925 classic, The Trial.  Set (15 minutes?) in the future, Welle's beautifully realizes the confusion and terror that has made Kafka's unfinished original work a classic. It's a thrill for Mr. Chavez & I to sit down and dive into a bold and daring exploration of a famed and cherished writer, by one of the great masters of the cinema. Take a listen and ask yourself how much you see of Kafka and Welles' visions in today's troubling world. Thanks for listening. As always, we can be reached at gondoramos@yahoo.com. Many, Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

The April 2025 New Music Train is making its final journey of the month, picking up Scot Isom in the suburbs of Kansas City before Patrick hops on board and rides into the depot. In this episode, you'll hear music from The Waterboys, Matt D, Jesse Welles and Scowl. Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

The Kraft Music Hall. May 01, 1941. NBC net. Sponsored by: Kraft Miracle Whip, Kraft Malted Milk. The first tune is, "With A Twist Of The Wrist." Guest Pat O'Brien makes his ninth appearance on the show, as a third base businessman. Bing interviews a paratrooper. Bob Burns reads a letter from Grandma and plays, "Dance Of The Hours" on his bazooka!. Bing Crosby, Bob Burns, John Scott Trotter and His Orchestra, The Music Maids, Ken Carpenter (announcer), Connie Boswell, Pat O'Brien, Josephine Tuminia (soprano).  Howdy Doody. August 16, 1952. NBC net. Sustaining. 7:30 A.M. Not a television show, this broadcast originates from "The Howdy Doody Circus." The topic of the program is "the sea." The president of the Kids is nominated and elected. Who is Mr. X?  In addition to "Buffalo Bob," we hear "Phineas T. Bluster," "Dilly Dally," "The Flubadub," "The Flubadub, Jr.," Professor Hubert Fitchnoodle, Zabby (a two-headed man-from Mars), and of course, Howdy Doody. Buffalo Bob sings, "Anchors Away,""Yankee Doodle Dandy", Popeye the Sailor" and other songs.  The members of the Peanut Gallery give their opinions. Bob Smith; Dayton Allen LADY ESTHER PLAYHOUSE (Mercury Theatre) January 19, 1942. CBS net. "My Little Boy". Sponsored by: Lady Esther. A delightful portrait of a father and his son. Welles is at his best!. Orson Welles, Carl Ewald (writer), Dix Davis, Ruth Warrick, Ray Collins.  Freedom U.S.A. March 30, 1952. Program #15. ZIV Syndication. "Embargo On Santa Granada". Sponsored by: Commercials added locally. A revolution is taking place in Santa Granada. An embargo on trade is being considered in the Senate. The date is approximate. One savings bonds spot announcement (from a different time period) has been added during the first commercial break. Tyrone Power, Edwin C. Hill (narrator), Jimmy Wallington (announcer), David Rose (composer, conductor).The Witch's Tale. December 7, 1931. WOR, Newark, New Jersey, Air Features Syndicate syndication. "The Confession". Sponsored by: Kruschen Salt (weight reducer). 9:30 P.M. A Catholic priest is summoned to administer the last rites to a young Chinese wife about to be killed by a particularly gruesome Chinese torture. The script was previously used on "The Witch's Tale" on December 7, 1931 and subsequently on February 17, 1936. This program was also syndicated by "Group Broadcasters.". Alonzo Deen Cole (writer, producer, performer), Marie O'Flynn, Adelaide Fitz-Allen (as "Old Nancy").TIME:02:55:50.454SOURCES: Wikipedia and The RadioGoldindex.com

A Dramatic SaturdayFirst,  a look at this day in History.Then Suspense, originally broadcast May 31, 1945, 80 years ago, August Heat starring Ronald Coleman.  A very hot day finds strange predictions of the future starting to come true.Followed by Let George Do It starring Bob Bailey and Virginia Gregg, originally broadcast May 31, 1948, 77 years ago, The Island in the Lake.  George visits the Shelby Friendship Club for a clue to the missing Mrs. Angela Phillistin, a lady with a past from exclusive Tuxedo Lake. Then The Cavalcade of America, originally broadcast May 31, 1943, 82 years ago, Mr. Lincoln's Wife starring Helen Hayes. The tragic personal story of Mary Todd Lincoln.Followed by Dragnet starring Jack Webb, originally broadcast May 31, 1951, 74 years ago, The Big Bindle. Sergeant Friday pretends that he's from Phoenix. He goes undercover to crack a narcotics ring operating out of one of the nicest hotels in Los Angeles. Finally. A segment of the Orson Welles Almanac program, broadcast May 31, 1944, 81 years ago.  Welles parodies his role in the Suspense two-part program of Donovan's Brain…wonder if this parody was why that was Welles last performance on Suspense?Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.html

Drama on a SundayFirst,  a look at this day in History.Then Suspense, originally broadcast May 25, 1944, 81 years ago, Donovan's Brain Part 2 starring Orson Welles.   A determined scientist plans to keep Mr. Donovan's brain alive in a jar...not such a good idea! The conclusion of the story begun the week before and Welles last appearance on the show.Followed by Yours Truly Johnny Dollar starring Bob Bailey, originally broadcast May 25, 1958, 67 years ago, The Midnight Sun Matter. Johnny's flying in a cargo plane over Alaska with a load of dynamite...when the pilot gets appendicitis!Then The Lux Radio Theater, originally broadcast May 25, 1942, 83 years ago, Test Pilot starring Robert Taylor, Robert Preston,  and Rita Hayworth. The adaptation of a 1938 motion picture about a a daredevil test pilot, his wife, and his best friend.Finally, Lum and Abner, originally broadcast May 25, 1942, 83 years ago, Property Deal Goes Sour.   Squire Skimp buys the property back after Cedric finds buried silver dollars. Thanks to Honeywell for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamFind the Family Fallout Shelter Booklet Here: https://www.survivorlibrary.com/library/the_family_fallout_shelter_1959.pdfhttps://wardomatic.blogspot.com/2006/11/fallout-shelter-handbook-1962.htmlAnd more about the Survive-all Fallout Sheltershttps://conelrad.blogspot.com/2010/09/mad-men-meet-mad-survive-all-shelter.html

durée : 00:50:20 - Affaires sensibles - par : Fabrice Drouelle, Franck COGNARD - Aujourd'hui dans Affaires Sensibles, la Guerre des Mondes, d'Orson Welles. Ou l'histoire d'une panique généralisée qui, en fait, n'a pas eu lieu. - réalisé par : David Leprince

The tenth episode of our season on the awesome movie year of 1941 features the Best Film pick from both the National Board of Review and New York Film Critics Circle, Orson Welles' Citizen Kane. Directed and co-written by Orson Welles and starring Welles, Joseph Cotten, Dorothy Comingore, Everett Sloane, Ruth Warrick and William Alland, Citizen Kane is widely considered the greatest film ever made.The contemporary reviews quoted in this episode come from Bosley Crowther in The New York Times (https://www.nytimes.com/1941/05/02/archives/orson-welless-controversial-citizen-kane-proves-a-sensational-film.html), C.A. Lejeune in The Guardian (https://www.theguardian.com/film/1941/oct/12/derekmalcolmscenturyoffilm), and Mae Tinee in the Chicago Tribune.Check out more info and the entire archive of past episodes at https://www.awesomemovieyear.com and visit us on Facebook at http://www.facebook.com/awesomemovieyear You can find Jason on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Letterboxd at https://letterboxd.com/goforjason/You can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/, on Bluesky at signalbleed.bsky.social and on Letterboxd at https://letterboxd.com/signalbleed/If you're a Letterboxd user and you watch any of the movies we talk about on the show, tag your review “Awesome Movie Year” to share your thoughts.You can find our producer David Rosen and his Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod, on Bluesky at piecingpod.bsky.social and on Letterboxd at https://letterboxd.com/bydavidrosen/ Join the Popcorn & Puzzle Pieces Facebook group at

The Columbia Workshop ||The Fall of the City || Broadcast: April 11, 1937Written by Archibald MacLeish, is the first American verse play written for radio. The 30-minute radio play was first broadcast April 11, 1937, at 7 p.m. ET over the Columbia Broadcasting System (today CBS) as part of the Columbia Workshop radio series. The cast featured Orson Welles and Burgess Meredith. Music was composed and directed by Bernard Herrmann. It is an allegory on the rise of Fascism.Cast of characters:House Jameson as Studio Director; Orson Welles as Announcer; Adelaide Klein as Dead Woman; Carleton Young as 1st Messenger; Burgess Meredith as Orator; Dwight Weist as 2nd Messenger; Edgar Stehli as Priest; William Pringle as General; Guy Repp, Brandon Peters, Karl Swenson, Dan Davies, and Kenneth Delmar as Antiphonal ChorusProduction:This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed.The play was broadcast live from the drill hall of the Seventh Regiment Armory in Manhattan, New York. The site was chosen for the acoustic properties needed for the production. The principal director was Irving Reis who was also the producer. Music was composed and directed by Bernard Herrmann, music director of the Columbia Workshop. William N. Robson was responsible for crowd supervision; Brewster Morgan was editorial supervisor; and the stage manager was Earle McGill.The production involved the construction of a soundproof isolation booth for Welles. Two hundred extras were used for the crowds, drawn from New York University students, New Jersey high school students and boys clubs.To simulate a crowd of 10,000, Reis recorded the sounds of the extras during rehearsals, including their shouts. During the actual performance, these recordings were played at four different locations in the Armory; the recordings were played at slightly different speeds to give the effect of a larger crowd.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

“He was some kind of a man. What does it matter what you say about people?” – Touch of Evil (1958)This week, we're crossing into the shadowy borderlands of noir with special guest Ryan Luis Rodriguez to unpack Orson Welles' Touch of Evil. From its legendary opening tracking shot to Welles' haunting turn as the corrupt Hank Quinlan, the film stands as a dark, complex swan song to the classic noir era.Together, we explore the film's bold visual language, its controversial casting choices, and the fascinating story behind the restored cut that finally honored Welles' original vision. Touch of Evil isn't just a masterwork of style—it's a film that continues to challenge how we think about authority, morality, and the boundaries we draw. Episode Notes:Touch of Evil (1958) was directed by Orson Welles and stars Charlton Heston, Janet Leigh, and Welles himselfSelected to the National Film Registry in 1993Famous for:A 3+ minute opening tracking shot widely regarded as one of the best in cinemaWelles' portrayal of the morally bankrupt Captain Hank QuinlanA studio-meddled post-production process that was later corrected by a 1998 restoration using Welles' notesDiscussion topics include:The film's place at the end of the classic noir eraInnovations in camera movement, sound design, and lightingHow Touch of Evil navigates race, identity, and law enforcement on the U.S.–Mexico borderThe legacy of the restored version and its impact on Welles' reputationFeaturing special guest:Ryan Luis Rodriguez, film podcaster and host of The Coolness Chronicles and Reels of Justice Follow the Show:TwitterInstagramWebsite Music by Mike Natale

Bienvenidos de nuevo a un directo desde Twitter, esta vez voy a darles una clase magistral sobre como funciona nuestra red eléctrica, algo complejo y sencillo a la vez. No hay ningún medio de comunicación que hable claramente sobre esto y por ello la gente no se puede formar una opinión al respecto. Se habla de oido y por regla general los tertulianos no tienen ni idea de lo que hablan. Os explicaré a grandes rasgos mi formación: Título de FP2 en la especialidad Líneas y maquinas eléctricas, eso antiguamente eran 5 años. Luego pasé algunos meses como técnico para un autónomo que trabajaba para Balay antes de irme a la mili. La mili la realice en la base aérea de Getafe como electricista dentro de la central eléctrica donde ayude a los electricistas civiles, allí teníamos varios grupos electrógenos, de varios tamaños y potencias. Al volver de la mili entre en una empresa de verificación trafos en fábricas y permisos para poner en marcha instalaciones. Después entre en una de las empresas eléctricas mas antiguas de España, J.Gil, se trata de una empresa de las primeras que construyó nuestra red eléctrica. Decir que los antiguos trabajadores de Hidroeléctrica Española hacían horas en esa empresa y que nosotros celebrábamos la comida de nochebuena con ellos. En esa empresa viví la unificación de Hidroeléctrica Española e Iberduero dando como resultado el monstruo de Iberdrola. Esa empresa empezó a ir mal y entre a otra del sector y entre las dos estuve más de 10 años en las empresas que construyen y mantienen centrales de generación y distribución trabajando por toda España. Dentro de esas dos empresas trabajé en todo tipo de instalaciones: nucleares, térmicas de carbón, hidroeléctricas, de fuel, eólicos, de todo salvo solar. Y en todo tipo de tensiones, desde las subestaciones de distribución en 20KV a las grandes centrales de 400KV. Participe en la construcción desde cero de subestaciones y centrales, instalacion de cableado de control, montaje de bastidores de protecciones y pruebas en todo tipo de instalaciones. Estuve trabajando en el cinturón de 400KV que rodea Madrid y también en la instalación de los telemandos para manejar las centrales a distancia. Trabajando en el parque de 400 KV de Vandellos se pusieron en contacto conmigo para que echara el curriculum en REE, Red eléctrica de España. Tuve que ir a Zaragoza a realizar una entrevista para ver si estaba capacitado para ser operador del sistema con ellos. Lo pase y realice también un test de conocimientos básicos y otro psicológico que también pase…pero al final mi apellido no era el adecuado y no entre. Luego contaré una anécdota al respecto. Pude ir a trabajar a Brasil y deje esta última empresa porque me querían contratar en Iberdrola y mi jefe lo impidió. Le di quince días y me marché a una pequeña ingeniera de valencia. Alli trabaje un año como delineante diseñando telecontroles, teledisparos, equipos de protección de red y modificaciones en centrales eléctricas. Allí colaboré en el diseño de subestaciones para Brasil. Pero yo soy un técnico de campo, una rata de calle y parque al aire libre, por lo que terminé yéndome a la empresa donde sigo trabajando hoy dia. Dicha multinacional fue a su vez comprada por otra aún mayor, nada menos que GE. Así que sí, he trabajado para GE (General Electric) como técnico de campo, incluso me dieron un cuadro de reconocimiento, ja, ja, ja. En esta empresa llevo los últimos 25 años. Se trata de una empresa que produce energía y la inyecta a la red todos los días desde todas partes del mundo. Así que sí, creo estar capacitado para hablar sobre el apagón del dia 28, otro fatídico 8, a las 12:33 Decir que las explicaciones que ha dado REE a través de Eduardo Prieto como director de servicios para la operación de Red eléctrica son claramente insuficientes. Un escueto video de 50 segundos publicado en su página web donde simplemente nos dicen que la demanda había sido repuesta en un 77% a las 4 de la mañana… De momento nadie ha dado una respuesta verosímil sobre lo que de verdad a pasado. REE, la empresa privado-estatal que maneja la red eléctrica ha dicho esto en su sala de prensa. Tan solo ha explicado que a las 12 de la noche se recuperó el 60% de la demanda y a las 2 de la mañana el 77%. Esto es largo de explicar a través de unos tuits...pero digamos que es la pescadilla que se muerde la cola. Muchas instalaciones generadoras no están diseñadas para producir mientras la red está caída, lo que se denomina blackout, y necesitan que haya tensión de red para empezar a inyectar potencia a la red. Las instalaciones grandes como las nucleares y otros grupos de generación necesitan horas o incluso días para estar disponibles. Es más, las nucleares necesitan una enorme cantidad de energía eléctrica para refrigerar sus núcleos nada más desconectarse de la red. La propia distribución eléctrica consume un montón de potencia eléctrica que se disipa en forma de calor y de emisiones de radiación electromagnética en todos los cientos de miles de kilómetros del cableado eléctrico de AT (alta tensión) y en los bobinados de los trafos. Por lo tanto, la primera generación que se va recuperando debe enviarse a qué las nucleares tengan red y no utilicen sus grupos electrógenos de emergencia y en inundar las redes de distribución con tensión. De momento no he escuchado ni una explicación técnica sobre el #apagon de parte de REE o de algún medio oficial. Aquí, Eduardo Prieto, director de Servicios para la Operación de Red Eléctrica en declaraciones a los medios nos contó como iban reponiendo esta tensión para que todos tengamos electricidad en casa. Eso fue a las 20:35 y es el último comunicado publicado en la web de REE. Ya está circulando por ahí la posibilidad de que este apagón haya sido debido a la presencia de masiva de energia procedente de los paneles solares fotovoltaicos, leo: "En un sistema eléctrico dominado por paneles solares, aerogeneradores e inversores, la inercia física es prácticamente nula. Los paneles solares no producen rotación mecánica. La mayoría de los aerogeneradores modernos están desacoplados electrónicamente de la red y proporcionan poca fuerza estabilizadora. Los sistemas basados ​​en inversores, que predominan en las redes modernas de energía renovable, son precisos pero delicados. Siguen la frecuencia de la red en lugar de resistir cambios repentinos”. El tuitero Principia Marsupia decía: “Veremos si tiene algo que ver con el apagón de hoy o no, pero hay un concepto del que se habla muy poco: la **inercia** de un sistema eléctrico. La inercia funciona como un amortiguador ante las fluctuaciones. Las centrales nucleares, las hidroeléctrica, las de gas, etc. proporcionan inercia al sistema xq tienen el mismo principio de funcionamiento: turbinas muy pesadas que giran muy rápido (a 50 vueltas por segundo = 50 hertzios). Esos bichos tan pesados girando a tanta velocidad tienen una inercia muy grande. Newton nos enseñó que cuanta más inercia tienes, más fuerza tiene que ejercer el exterior para cambiar tu velocidad de rotación. Dicho de otra manera: esos sistemas "absorben" las fluctuaciones de forma instantánea y muy eficiente. Por supuesto, todo tiene su límite y también puede haber apagones con esas centrales. ¿Y la solar y la eólica? La solar y la eólica producen electricidad sin una masa que proporcione inercia. (Los molinos eólicos no giran a 50 vueltas por segundo). Ojo: yo soy muy partidario de las renovables. Son más baratas y nos hacen depender menos de los países que exportan petróleo o gas. Pero creo que no se explica bien que cuando dependemos *sólo* de las renovables, el diseño y la gestión de la red es mucho más compleja. Y dicho esto, repito: no sé si el apagón de hoy ha sido un problema con la inercia del sistema. En todo caso, os he podido dar la chapa con un tema que me parece interesantísimo.” Es cierto que el dia del apagón el aporte de la energia fotovoltaica fue mayor de un 60% dentro del mix energético, concretamente un 60,64% con 17.657 MW. Pero hace solo unos días, el 21 de abril de 2025, la energía fotovoltaica alcanzó un récord en España, aportando el 61,5% del mix energético peninsular a las 13:35 horas, con una producción instantánea de 20.120 MW. El 19 de marzo de 2023, a las 11:37 horas, la energía solar fotovoltaica cubrió el 64,5% de la demanda eléctrica en España, marcando un récord histórico…sin que sufrieramos un apagón. ………………………………………………………………………………………. contar que es la red…tendréis que escuchar mi explicación ………………………………………………………………………………………. Decir que consultando los datos vemos que a las 12 y 20 no solo estábamos produciendo lo que consumían los españoles sino que estábamos exportando o guardando energia en forma bombeo. En concreto estábamos exportando 1 GW (a grosso modo una central nuclear) a Francia, 2,6 GW a Portugal y 3 GW se estaban destinando a bombear agua en presas para luego turbinarla, esto es, para en otro momento donde la energia sea mas cara vender de nuevo esa energia. Y casi un 1 GW más destinado a Marruecos, Andorra, etc… O sea, a las 12 y 20, 13 minutos antes del desastre nos sobraban casi 7 GW. En ese momento teníamos algunas de nuestras centrales nucleares en marcha, en torno a la mitad, por lo que estábamos produciendo unos 3 GW de forma nuclear. Por no decir que en España existe también el servicio de Interrumpibilidad por el que cobran y muy bien algunas de las empresas que mas energia eléctrica consumen. Este servicio significa que en caso de necesidad estas empresas serán desconectadas de la red por el operador y tendrán que funcionar en isla, o sea, se tendrán que generar ellas mismas su energía. Este servicio se empezó a gestionar en la Orden ITC/2370/2007, de 26 de julio, y hoy dia no está claro cuantos gigavatios hay destinados a esto. Esto funciona por subasta, el gobierno ofrece este chollo solo a las empresas afines, ya que como yo he comentado en mis artículos y podcast titulados “La red de araña” la corrupción y el oscurantismo en este sector es generalizado. Hace años que no busco datos sobre este respecto pero han habido años donde habían mas de 7 GW destinados a esto. Por ello estas empresas pagan su energia mas barata que la señora Maria que utiliza la electricidad para usar su secador de pelo y cuatro bombillas. Hoy se llama Servicio de Respuesta Activa de la Demanda (SRAD) y son solo unos 2 GW, podemos leer esto: “Las subastas de interrumpibilidad, tal como se conocían tradicionalmente, han evolucionado en España. Desde 2022, se han reemplazado por un nuevo mecanismo denominado Servicio de Respuesta Activa de la Demanda (SRAD), según el Real Decreto-ley 17/2022. Este servicio permite a grandes consumidores, como la industria electrointensiva, y otros agentes con al menos 1 MW de potencia reducir su consumo eléctrico en momentos críticos para el sistema eléctrico, a cambio de una retribución económica. A diferencia del antiguo sistema, la retribución se basa en la disponibilidad y, en caso de activación, en la ejecución efectiva de la reducción de consumo. En 2024, se anunció que la subasta para el SRAD de 2025 se celebraría el 14 de noviembre, con un requerimiento de 2.116 MW. Estas subastas, gestionadas por Red Eléctrica de España (REE), son telemáticas, anuales y abiertas a más participantes que las antiguas subastas de interrumpibilidad, que estaban restringidas principalmente a la gran industria. Por tanto, las subastas de interrumpibilidad como tal ya no existen, pero el SRAD cumple una función similar, adaptada a un marco regulatorio más moderno y flexible, alineado con las directrices de la Unión Europea.” Esto nos dice que en cualquier momento nos podríamos deshacer de la producción de 9 GW…ya saben que supuestamente todo ha sobrevenido porque nos faltaron de golpe 15GW en un consumo de entorno 26. Les hablare de como se calcula la energia necesaria que tenemos que producir para no tener problemas. Toda la energia que podemos producir se denomina “capacidad efectiva” y toda la energia que necesitamos en un instante se llama “demanda máxima bruta coincidente”. Lógicamente esta ultima debe ser menor que lo que podemos producir, esa diferencia se denomina “margen de reserva”. Y aqui es donde vienen las curvas. Lógicamente no todas las instalaciones están operativas: Puedes estar paradas debido a un mantenimiento programado, a un fallo, a la degradación por el paso del tiempo o al cajón de sastre que denominan “causas ajenas”. Asi que ese margen de reserva que teníamos antes se nos ha reducido hasta lo que se conoce como “margen de reserva operativo”. Por tanto tenemos una capacidad neta disponible que debe superar a la demanda máxima neta en ese “margen de reserva operativo”. Dicho margen esta compuesto por el margen de reserva de generación, la demanda interrumpible y la capacidad de interconexión (nuestra red está conectada a la de otros países y podemos exportar o importar electricidad). Nuestra interconexión principal es con Francia, pueden buscarla como Inelfe, una linea que pretende que pasemos del 3% de interconexión actual a un 10%...o sea aproximadamente 10 GWh… esto solo puede servir para enviar nuestra energía sobrante ...porque a nosotros nos sobra aproximadamente un 70% de todo lo que hay instalado en este santo país. Hice unos cálculos sobre el margen de reserva en 2014, son estos: Pues bien, si nosotros tenemos oficialmente 108 GWh (yo creo que son mas bien 120 GWh...pero "aceptamos pulpo") y consumimos en una franja entre los 22 y 36 GWh...¿Cuantos GWh nos sobran?... Pues bastante mas de esos 10 GWh que si no paran en Francia (que pararan, vaya si pararan)...y le dejo aqui los fríos datos extraídos de ese pdf que Vd. obvio y ojo es un pdf muy, pero que muy pronuke… Le remarco lo de la flechita para que vea que ES PARA EXTRAER NUESTRA ENERGIA SOBRANTE CREADA EN INSTALACIONES QUE EMPLEAN ENERGIA RENOVABLE LA QUE CIRCULARA POR LAS REDES FRANCESAS...PORQUE ELLOS DE ESO POCO... Para calcular el margen de reserva de nuestra red necesitamos conocer estos tres factores: MRG ó margen de reserva de generación. Como tenemos parados casi todos los ciclos combinados, y según Iberdrola, este margen es grande de casi 30 GWh (datos del 2010, ahora sera mayor) y ya que cobran sumas astronómicas en concepto de disponibilidad pues que estén preparados para empezar a generar, leñe. DI ó demanda interrumpible. Esto por si no lo saben nuestros oyentes se trata de un convenio entre las empresas eléctricas y los grandes consumidores via subvención del estado para que sean avisados y dada la circunstancia de un preapagon se queden fuera de la red, esto es, les sea cortado el suministro eléctrico para compensar la demanda en ese momento, a veces simplemente para gestionar las tensiones en la red. La ultima orden de interrumpibilidad se produjo en diciembre del 2009 en el sur de España. Solo se pueden sumar a estas "primas" los grandes consumidores de mas de 100MW, o sea, a estas grandes industrias la luz les sale bastante mas barata por este y otros motivos que a un pequeño consumidor. CI ó capacidad de interconexiones. Actualmente gozamos de unos 10 GWh que serán ampliados en breve gracias al proyecto INELFE pasando a los 15 GWh ampliable a los 25 GWh, que consiste en enterrar unas líneas de corriente continua entre Francia y España. Todo esto hace que nuestra capacidad bruta de 108 GWh oficiales y nuestra capacidad efectiva que es la suma de la demanda bruta coincidente y el margen de reserva sean bastante grandes y parecidos. Yo calculo a grosso modo que esta capacidad efectiva seria de: 36GWh del pico máximo actual, ya que no volveremos en mucho tiempo a los 45 GWh de nuestra burbuja mas los 30 GWh del margen de reserva de generación mas los 6 GWh de la demanda interrumpible mas los 10 GWn actuales de la capacidad de interconexión nos arroja un total de 82 GWh. Unos 82 GWh, que descontandole el aproximadamente el 25 % de fallos, degradación, causas ajenas y al mantenimiento de equipos nos arroja una potencia de margen de reserva operativo mas demanda bruta coincidente de 61,5 GWh y esa y no otra seria la potencia bruta instalada mínima que precisaríamos en estos momentos. Sin embargo nosotros que hemos tenido un pico máximo de demanda de 45 GWh en plena burbuja inmobiliaria, tenemos instalada la friolera de 108 GWh lo que nos arroja un margen de reserva del 59%. Vamos por último a comparar estos valores con dos países, el primero México: En el informe del 2012 de la comisión nacional de energia eléctrica podemos leer los datos del 2011, esto es, México tuvo una demanda media de 38,85 GWh y una capacidad bruta de generación de 54 GWh, lo que deja un margen de reserva operativo del 24 %, o lo que es lo mismo en Mexico hacen los deberes. Veamos ahora el caso de Francia: Su pico máximo de demanda en el año 2010 fue de 96 GWh y ellos tienen una capacidad bruta instalada de 123,5 GWh así que esto nos arroja un margen de reserva operativo de tan solo un 22 %, o sea peor margen de reserva que México y no digamos con nuestro abultadisimo margen del 59 %. Todos los autores están de acuerdo en que este valor de reserva se debe situar entre el 25 y el 30%... así que le dedico estos datos a un pronuclear cabezón que sigue opinando que nuestra red no puede funcionar sin la mano que nos echan los franceses...pero ya vemos que es al revés y que en breve aun necesitaran mas de nuestras energias renovables. ………………………………………………………………………….. Quería comentar que los cortes eléctricos que puedan inestabilizar el sistema no son tan poco frecuentes, yo he vivido dos. El más importante, sin lugar a dudas fue el de 1987 provocado por un fallo en un trafo de 220 KV en la subestación de Sentmenat. Durante aquellos días estaba trabajando en la ET de la Plana (Castellon), punto estratégico donde se pudo aislar la avería junto con la ET de la Mudarra en Valladolid. Para ello fue preciso el sacar las “palas” de los relés de protección de sobreintensidad (que por cierto eran GE , como casi todos) y controlar la línea “a mano”. Os dejo un fragmento del libro histórico de REE , donde se recoge aquel accidente, en la pág. 31 podemos leer esto: “…El apagón de Cataluña de 1987 El 14 de octubre de 1987 se produce un apagón en Cataluña que deja sin servicio al 91 % del mercado catalán y desacopla las conexiones con Francia. El incidente se origina a las 22:44 horas en la subestación de Sentmenat (Barcelona), al explotar un polo de un interruptor. La situación se agrava a las 23:20 horas al dispararse la línea Aragón-La Plana, lo que afecta al resto de las centrales eléctricas de la zona. En concreto se disparan los grupos de La Robla, Teruel, Ascó, Vandellós I y Garoña. La potencia de la central de Cofrentes se queda en 80 megavatios. Para superar esta situación, se acoplan grupos de fuelóleo en Sant Adriá de Besós, Foix, Cercs y Castellón. El suministro se normaliza al cien por cien a la 1:45 horas de la madrugada. «Se puede hablar de perturbación general. Es la incidencia mayor que se ha registrado en la etapa de la explotación unificada», asegura José Alburquerque, que fue jefe del CECOEL entre 1990 y 1999 y ahora está jubilado…” (OJO 4 Nucleares paradas, y bajar a 80 MW Cofrentes es una parada técnica de emergencia en toda regla, la situación se puso al rojo vivo) Sobretodo se han dado situaciones de peligro en la zona de Cataluña, aunque tras crear el doble anillo de 400 KV de la red eléctrica se ha mejorado muchísimo. Figuraos que hasta hace no tanto tiempo toda la energía eléctrica que salía y/o entraba a Segovia lo hacía por un único interruptor de 400 KV. ………………………………………………………………………………………. Conductor del programa UTP Ramón Valero @tecn_preocupado Canal en Telegram @UnTecnicoPreocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq Invitados JuanMa @KbmEa7 Superior de Telecomunicaciones Radioaficionado, testing Radiohack, SDR, DSD+ tetra, TTTracker, SDRsharp. …. ¡Danterior! @Suptedax CIUDADANO GALLEGO ESPAÑOL Y EUROPEO LUCHO POR UNA SOCIEDAD HUMANA Y MÁS JUSTA. LOS NIÑOS SON EL FUTURO. AMARAS AL PRÓJIMO COMO A TI MISMO DIOS ES AMOR …. Española @Espaola100 Yeshúa es el gran YO SOY. La verdad es sólo UNA. Biblia. Profecía. Geopolítica. Sionista. LIBERTAD. …. (((VerdadesOfenden ن @verdadsmolestas "Censura, hija del miedo, padre de la ignorancia, arma del tirano. Defender hoy la verdad es nadar contracorriente" #PuraSangre https://t.me/Verdadesofenden …. El Profe @ElProfeOscar2 …. MinarcatMEGA @Rodrigo198718 liberal, capitalista, libertario, VLLC. DON'T TREAD ON ME 100% MAGA y antisocialista. Termo Milei, Termo Donald Trump, fvck Gaza fvck hamas …. Santiago Usoz @SantiagoUsoz Nací en Pamplona, donde Hemingway, Heston, Gardner, Welles y Spike Lee fueron a la plaza a ver matar toros …. Astudillo @4studill0 ………………………………………………………………………………………. Enlaces citados en el podcast: AYUDA A TRAVÉS DE LA COMPRA DE MIS LIBROS https://tecnicopreocupado.com/2024/11/16/ayuda-a-traves-de-la-compra-de-mis-libros/ Orden ITC/2370/2007, de 26 de julio, por la que se regula el servicio de gestión de la demanda de interrumpibilidad para los consumidores que adquieren su energía en el mercado de producción. https://www.boe.es/buscar/doc.php?id=BOE-A-2007-14798 30052013 CANAL ZERO-Gaia-La Red de Araña https://www.burbuja.info/inmobiliaria/temas/30052013-canal-zero-gaia-la-red-de-arana.427877/ UTP 12 La red de araña https://www.ivoox.com/utp-12-la-red-arana-audios-mp3_rf_10917493_1.html UTP13 La red de araña II https://www.ivoox.com/utp13-la-red-arana-ii-audios-mp3_rf_10943328_1.html UTP17 El Amperio contra Antonio Primera Parte https://www.ivoox.com/utp17-el-amperio-contra-antonio-primera-parte-audios-mp3_rf_11352806_1.html UTP18 El amperio contra Antonio Segunda Parte https://www.ivoox.com/utp18-el-amperio-contra-antonio-segunda-parte-audios-mp3_rf_11352896_1.html UTP26 El Déficit de Tarifa y otras malas hierbas https://www.ivoox.com/utp26-el-deficit-tarifa-otras-malas-audios-mp3_rf_12312715_1.html UTP27 El déficit de tarifa y otras malas hierbas. Segunda parte https://www.ivoox.com/utp27-el-deficit-tarifa-otras-malas-audios-mp3_rf_12509855_1.html PUNTO DE NO RETORNO RED ELÉCTRICA EN 2002 https://tecnicopreocupado.com/2014/03/23/punto-de-no-retorno-red-electrica-en-2002/ Inelfe http://www.eib.org/at ta chm ents/inelfe_es.pdf FILOMENA Y EL GRAN APAGÓN QUE NO FUE NI SERÁ https://tecnicopreocupado.com/2021/01/15/filomena-y-el-gran-apagon-que-no-fue-ni-sera/ ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros Epílogo Maná - Bendita Tu Luz (Video Oficial) https://www.youtube.com/watch?v=44kityInDvM

In this episode, the March 2025 New Train chugs through the American heartland, picking up Scot Isom in the suburbs of Kansas City, Missouri. Scot says hello to all the pets and muses on new tunes from Heat Manager, Bob Mould and Jesse Welles.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Please donate to Rob's funeral expenses at his GoFund Me page.https://gofund.me/f8bcb7c3

On September 11th, Welles saved 12 of the only 18 survivors who were at or above the floors where the plane struck the World Traded Center’s South Tower. He’s known as “The Man In The Red Bandana”, because that’s what he wore that day and had with him every day since he was a young boy. His mother Alison pays tribute to her late son.Support the show: https://www.normalfolks.us/premiumSee omnystudio.com/listener for privacy information.

On September 11th, Welles saved 12 of the only 18 survivors who were at or above the floors where the plane struck the World Traded Center’s South Tower. He’s known as “The Man In The Red Bandana”, because that’s what he wore that day and had with him every day since he was a young boy. His mother Alison pays tribute to her late son.Support the show: https://www.normalfolks.us/premiumSee omnystudio.com/listener for privacy information.

Milton's epic new comic, “Orson Welles: Warrior of the Worlds” ... Comics culture, then and now ... The real story behind the faux War of the Worlds broadcast ... Why Milton was drawn to Orson Welles ... What (or who) really derailed Welles's career? ... Will Milton's comic go multimedia? ... Heading to Overtime—with Bob in the hot seat ...

Milton's epic new comic, “Orson Welles: Warrior of the Worlds” ... Comics culture, then and now ... The real story behind the faux War of the Worlds broadcast ... Why Milton was drawn to Orson Welles ... What (or who) really derailed Welles's career? ... Will Milton's comic go multimedia? ... Heading to Overtime—with Bob in the hot seat ...

http://402p.com/warmup for the Yobow Bak Pak+! Getting injured SUCKS. And it's mostly preventable...but we don't do the things necessary to prevent it. On today's show, we chat with David Welles from The Yobow about injury prevention, and how warming up can completely enhance your game. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode was originally released on 5/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 79, we present a detailed look at Orson Welles' radio career through the end of 1941. Highlights: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937
 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. • How it's success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • Joseph Cotton introduces Orson to Rita Hayworth The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Citizen Welles: A Biography of Orson Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • The Encyclopedia of Old-Time Radio by John Dunning • Discovering Orson Welles by Jonathan Rosenbaum Other materials included: • http://www.wellesnet.com - an incredibly comprehensive website on Orson's career • Orson Welles on the Air, 1938-1946 at https://orsonwelles.indiana.edu • The Radio Preservation Task Force also has a great Facebook group headed by Josh Shepperd Selected Interviews in this episode were: • Orson Welles with Dick Cavett, Johnny Carson, and Huw Wheldon, • Agnes Moorehead and Alan Reed were with radio Hall of Fame Member Chuck Schaden, who interviewed over 200 members of the radio community during his 39 year career. Chuck's interviews can be streamed for free at SpeakingofRadio.com. • William Robson was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio in January of 1976 and Kenny Delmare was with John Dunning in 1983. Those interviews can be found at the Old Time Radio Researcher's Group at Otrrlibrary.org • William Herz was with Walden Hughes and John and Larry Gassman in 2013 for their program on the Yesterday USA Radio Network, which you can visit at http://www.yesterdayusa.com.

The February 2025 New Music Train is on the tracks and heating up the rails! In this episode, we take a scenic journey around Raymore, Missouri with your host, Scot Isom. Scot discusses new music from Avi Kaplan, Bartees Strange and Jesse Welles, so sit back and enjoy the ride.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart,Djinn RecordsStitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

Sarah hates it. Welles loves it. Cristina is probably worried about Daniel.

Cassie and Welles for World Down Syndrome Day by Maine's Coast 93.1

Are you truly accessing the infinite power within you? In this episode of The Abundant Coach, Lauren Brollier Newton sits down with energy medicine expert and master coach Kirsten Welles to reveal the key to spiritual transformation. Learn how to shift from fear-based thinking into true alignment with your highest self using the Red Dot Method, breathwork, and the hidden energetics of transformation. If you're ready to unlock a whole new level of success as a coach and experience deeper fulfillment in your life and business, this episode is for you.Key Takeaways from This Episode:Spiritual transformation begins with presence—the Red Dot Moment is where all change happens.Your breath is the fastest way to shift from fear to creativity and abundance.Unconditional love is your true nature—learning to access it changes everything.Practical tools like breathwork, meditation, and energetic visualization can help you unlock your highest self.Every great coach learns to access infinite intelligence—this is the key to transformational coaching.Ready to Transform Your Coaching Career?Spiritual transformation is at the heart of building a thriving coaching business. The most successful coaches aren't just taking action—they're taking aligned action from a place of deep connection to their infinite nature. If you're ready to tap into that level of clarity, confidence, and purpose, The Life Coach Accelerator is your next step.This free, 5-day challenge will help you:Discover your unique calling as a coach.Learn how to shift from fear into total confidence in your coaching abilities.Unlock the biggest money blocks that hold most coaches back.Find your ideal clients and charge what you're worth—without doubt or hesitation.Build a sustainable, abundant coaching business that aligns with your highest self.Join the Life Coach Accelerator now and step into the infinite potential of your coaching career.

Leah Hébert Welles, Chief Executive Officer of OPEN ARMS joins Jason DeRusha in studio to talk about the slash of $650,000 in funding over the next year for Open Arms. Leah shares some of the real consequences of reducing federal funds to the Open Arms organization and what their next steps will be as federal grants remain frozen.

Happy Valentine's Day from Drivetime with DeRusha! Jason opens the show talking love stories and collects some from the listeners. Leah Hébert Welles in studio to talk about dealing with frozen federal funds as CEO of Open Arms. Plus no charges doesn't mean good job

 Happy New Year and welcome to the Best of 2024 series! We've wrapped up the listener portion of the series and today, Jim and Patrick pick their favorites from last year. They are Jesse Welles, La Luz, Adrianne Lenker and Mdou Moctar.  Rockin' the Suburbs on Apple Podcasts/iTunes or other podcast platforms, including audioBoom, Spotify, Google Podcasts, Amazon, iHeart, Stitcher and TuneIn. Or listen at SuburbsPod.com. Please rate/review the show on Apple Podcasts and share it with your friends. Visit our website at SuburbsPod.com Email Jim & Patrick at rock@suburbspod.com Follow us on the Threads, Facebook or Instagram @suburbspod If you're glad or sad or high, call the Suburban Party Line — 612-440-1984. Theme music: "Ascension," originally by Quartjar, next covered by Frank Muffin and now re-done in a high-voltage version by Quartjar again!  Visit quartjar.bandcamp.com and frankmuffin.bandcamp.com.

 In this episode, Rick connects with writer, director, and actor Orson Welles. His work spanning the worlds of radio, television, film, and theatre, Welles is widely regarded as “the ultimate auteur.”

Joseph McBride is a film historian and a professor in the School of Cinema at San Francisco State University. He is the author of biographies of Frank Capra, John Ford, and Steven Spielberg; three books on Orson Welles; and critical studies of Ernst Lubitsch, Billy Wilder, and the Coen Brothers. He acted for Welles in The Other Side of the Wind and has won a Writers Guild of America award. His latest book is called "George Cukor's People: Acting for a Master Director" (Columbia University Press, 2025). The director of classic films such as "Sylvia Scarlett", "The Philadelphia Story", "Gaslight", "Adam's Rib", "A Star Is Born", and "My Fair Lady", George Cukor is widely admired but often misunderstood. Reductively stereotyped in his time as a woman's director—a thinly veiled, disparaging code for gay—he brilliantly directed a wide range of iconic actors and actresses, including Cary Grant, Greta Garbo, Spencer Tracy, Joan Crawford, Marilyn Monroe, and Maggie Smith. As Katharine Hepburn, the star of ten Cukor films, told the director, “All the people in your pictures are as goddamned good as they can possibly be, and that's your stamp.”

On a warm Halloween Eve, October 30, 1938, during a broadcast of H G. Wells' War of the Worlds, Orson Welles held his hands up for radio silence in the CBS studio in New York City while millions of people ran out into the night screaming, grabbed shotguns, drove off in cars, and hid in basements, attics, or anywhere they could find to get away from Martians intent on exterminating the human race. As Welles held up his hands to his fellow actors, musicians, and sound technicians, he turned six seconds of radio silence—dead air—into absolute horror, changing the way the world would view media forever, and making himself one of the most famous men in America. The revisionism lately of Orson Welles War of the Worlds 1938 broadcast is that it did not affect many beyond l the East Coast and most people did not believe Martians had invaded and were exterminating the human race with heat ray guns and poisonous gas. William Hazelgrove's new book “Dead Air The Night Orson Welles Terrified America,” points to a different America thrown into mass panic from the broadcast produced and directed by the twenty-three-year-old Welles.Did people really believe that Martians were exterminating the human race and did mass panic engulf the country? Willliam Hazelgrove makes a convincing case people did believe the broadcast and the ensuing terror and panic was a real time example of what would happen if aliens ever did land on earth.See omnystudio.com/listener for privacy information.