Podcast appearances and mentions of will travel

In this reflective episode, Lesley Logan and Brad Crowell dive into the most powerful lessons from the interview with Tami-Adrian George, founder of T.A.G Pilates & More and creator of the HAVE SKILLS, WILL TRAVEL Method. Together unpack how to stop comparing and start honoring your own pace. Learn why alignment matters more than achievement and how to redefine success on your terms.If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.In this episode you will learn about:What the Thass® connection is and why it changes your Pilates practice.Why you need to stop measuring your progress against other people.How building a values-aligned business support long-term success.The truth about burnout and how to listen to your body.How climbing life's mountains reveals new opportunities and clarity.Episode References/Links:OPC Summer Tour - https://opc.me/tourUK Mullet Tour - https://opc.me/ukCambodia October 2025 Retreat Waitlist - https://crowsnestretreats.comOnline Pilates Classes - https://youtube.com/@onlinepilatesclassesSubmit your wins or questions - https://beitpod.com/questionsProfitable Pilates - https://prfit.biz/eventsTami-Adrian George's Website - https://www.tagpilates.comTami-Adrian George's Instagram - https://instagram.com/Tami.Pilates.rehab If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! 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DEALS! https://onlinepilatesclasses.com/memberships/perks/#equipmentCheck out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSox https://onlinepilatesclasses.com/memberships/perks/#equipmentBe in the know with all the workshops at OPC https://workshops.onlinepilatesclasses.com/lp-workshop-waitlistBe It Till You See It Podcast Survey https://pod.lesleylogan.co/be-it-podcasts-surveyBe a part of Lesley's Pilates Mentorship https://lesleylogan.co/elevate/FREE Ditching Busy Webinar https://ditchingbusy.com/ Resources:Watch the Be It Till You See It podcast on YouTube! https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gLesley Logan website https://lesleylogan.co/Be It Till You See It Podcast https://lesleylogan.co/podcast/Online Pilates Classes by Lesley Logan https://onlinepilatesclasses.com/Online Pilates Classes by Lesley Logan on YouTube https://www.youtube.com/channel/UCjogqXLnfyhS5VlU4rdzlnQProfitable Pilates https://profitablepilates.com/about/Follow Us on Social Media:Instagram https://www.instagram.com/lesley.logan/The Be It Till You See It Podcast YouTube channel https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gFacebook https://www.facebook.com/llogan.pilatesLinkedIn https://www.linkedin.com/in/lesley-logan/The OPC YouTube Channel https://www.youtube.com/@OnlinePilatesClasses Episode Transcript:Lesley Logan 0:00  We always are comparing ourselves to others and what they can do and then seen as a thing that we can't do, that we like, missed out. We missed the genetic opportunity to do that, or we missed out on the height to do whatever, like the money, the time, whatever it is. And really it's like, you know, something that we're really proud of at even OPC. And one of the reasons why we love Tami and why she loves OPC is like, she wants you to measure yourself against yourself. Lesley Logan 0:22  Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started.Lesley Logan 1:05  Welcome back to the Be It Till You See It interview recap where my co-host in life, Brad, and I are going to dig into the intentional convo I have with Tami-Adrian George in our last episode. If you haven't listened to that one, you absolutely should, especially if you are a Pilates instructor, absolutely should do it. Brad Crowell 1:20  I mean, there's definitely a jaw-dropping moment in there where you're like, what did you do? That's amazing. Lesley Logan 1:26  Oh, and also, like, anyone who, like, thinks, oh gosh, I'm like, not quite my life has not been linear. I'm not qualified for anything like this girl has had a journey, yeah. Are you talking about when they they, yeah, yeah, like that. Brad Crowell 1:42  Yeah, okay, we should definitely cut that from it, because you should go back and watch that. So bleep out we'll bleep it out. We'll bleep out what Lesley just said. Lesley Logan 1:51  Yeah, that's even more fun. I love when pods do that, because you're like, who is it? What did they say? Now I have to go listen. Anyways, go back and listen and then come back and listen to this, or listen all the way through, get the cliff notes and then go listen to that one. Lesley Logan 2:04  Okay, today is July 31st and it's National Mutt Day. Dogs are special, and there're oodles of national international holidays to prove it, oodles of them. But unlike most of our doggy days, national mutt day on July 31st focus on the mixed breed dogs who sometimes get overlooked. This holiday inspires people to learn more about adopting one. National Mutt Day also brings attention to many great mixed breed dogs in need of homes. In fact, they benefit from the spotlight so much that we celebrate mixed breed dogs, not just once, but twice a year, on both July 31st and December 2nd. Join us and celebrate all mutts and mixed breed dogs that make our lives so great. So mark your calendar for December 2nd because we probably won't do this again unless we forgot we did it already. And I don't know what the second is, maybe it's not Thursday. But also, I highly recommend a mutt. They have less issues, like, way less like all that stuff.Brad Crowell 2:55  They, like health issues, you mean, usually, yeah. In fact, all three of our dogs have been mixed breed. Yeah. You know, we haven't gotten like a purebred but, but you know, generally speaking, if you're gonna pick up a dog from the pound, it's gonna be a mixed breed most likely.Lesley Logan 3:13  Brad, you are not following the feeds of my dog adoptions in this town. You how many Frenchies are available at a pound? Yes, Frenchies, Frenchies, and English Bulldogs. I thought those were thousands of dollars. I mean, like and beautiful huskies and beautiful German Shepherds. I will say there, there's a shepherd pit mix is like, the cutest thing I've ever seen, also a big dog. But, the reason I chose this is, if you haven't checked in with your local dog charities in town, you really should they are not doing well. They are overcrowded. They're having a lot of problems that shelters that used to be no kill shelters are actually becoming kill shelters because they have too many dogs. And if you're like Lesley, my life is crazy. I travel so much. Great. Foster. Get a dog for the two weeks you're in town and give it back. In fact, in this, where we are, like, they're always looking for fosters. And like, the fosters could be two weeks long, it could be or until they're adopted. So you could have this dog until it's adopted, and they pay for all the medical bills. They like, there's this one dog, eight month old puppy, so cute, she's so cute. She's got skin issues. And they're like, We will cover all of medication. You just have to apply it and give her a home. That's all so, you know, like, not all fosters are fails, and you could be doing a really great thing, but literally, one of the shelters in town took in 400 dogs and cats in one week. Brad Crowell 4:35  What? Lesley Logan 4:36  I know we haven't before, we're recording this, before the fourth. It wasn't even the fourth. So they actually were able to adopt. They did a no fee adoption weekend, and they adopted 120 animals. Because, like, they, like, just need to get these things, these animals adopted. So I know it's hard. Like, apartments have rules and laws and all those things. It's really, really difficult. But like, figure out what you can do. Can you walk these dogs? Like, what can you do? Because they actually do make your like, if you think the world is falling in and it kind of is, I'm not gonna lie, really, really struggling right now, but there's something nice about hugging a dog. Yeah, I can't, I can't attest for a cat, so I don't know. Maybe they're great too, or a rabbit, but like a dog, like they're just really, there's unconditional love there. There really is. So you, it really helps you. And we go for walks with our dog in the middle of the day, because we're like, this is really overwhelming. And we go walk the dog, and you're like, oh, it's a good day. Look how beautiful the day is. So anyways, yeah, do that today. Lesley Logan 5:30  Okay, we're currently on tour with our dog. We are in Northern California, and the tour goes to August 17th, so you actually still have time to join us, and there's still time to get your virtual tickets to the Calgary event. So if you go to opc.me/tour, you can see the rest of the lineup. I know we have coming up, Eureka, Portland, Seattle, Vancouver, Kamloops, Calgary, then it's McCall, Idaho, Salt Lake City, Utah, and then Las Vegas. So still good, half of this tour is available, and Calgary is the one if you're wanting the virtual tickets, limited space on those, so just go to opc.me/tour, and then we're home for a couple weeks, and then we change the entire wardrobe we've been in to go to where it's not so warm. We're going to be in the UK. We have two events in the UK the time we're recording this. There's a couple spots left in Leeds. There's a few spots left in Essex, and Essex has opened up not only day passes, but single workshop options. If you just wanted to buy one workshop and see us like that is an option. You just have to go to opc.me/uk, and then Brad, then what? Brad Crowell 6:32  Then we're heading to Cambodia. Lesley Logan 6:34  Yeah. We come home for a couple weeks and we change the wardrobe again. So we go from summer to winter-ish, and then we go to the jungle.Brad Crowell 6:45  We go to humidity. Lesley Logan 6:47  Humidity. Oh, my God, my skin is dying for it. Brad Crowell 6:51  Yeah, it's gonna be awesome. We still have some room for Cambodia in October. It's there's definitely still time to come join us. We'd love to have you the this trip is gonna be really fun we're having two excursions after the retreat is over. One of them is to go see an elephant sanctuary, and the other is to go visit a waterfall that used to be the King's Waterfall. And these are two magical trips Lesley and I have had the chance to do before and. Lesley Logan 7:20  I really wonder how the king got up to this waterfall, because our experience is less than first. Brad Crowell 7:25  It takes like it's like an hour to drive up, up, like, there from the city and like, man getting up the hill. Like, now finally. Lesley Logan 7:34  They're trying, they're trying to pave it, but it's not. Brad Crowell 7:36  Yeah but when we first went up there, it was like 2017 or '18 or something like that and like it was literally just a slick, muddy road.Lesley Logan 7:45  I thought we got stuck in the mud. Brad Crowell 7:46  We did yes, and we had to get off the bus, just so the bus was light enough to get around the freaking corner, and then we had to run around the corner ourselves and hop back on. We were like, are we gonna make it up this hill? This is crazy. Today, it's not like that. Today, it's actually paved, not like, it's not beautifully paved, but there is paving. Lesley Logan 8:03  There's, okay, here's the thing, every time we go, I'm interested to see how far the paving has gone, because it, you know, we live in Vegas, and I'm going to tell you right now, I have wanted to film the construction cones that go up in this town, like, I just want to start filming them for you, because they make no sense, like when we had them at our street for three years. They we had cones on ours, three years. Some days you would be driving on the right side of the road, some days the left side of the road. Some days you think you're in the left turn lane, but really you're in the lane for the oncoming traffic, and then you are stuck because they can't go you can't go anywhere. They can't go anywhere. And now there's a new cone set up on our way to the gym. And we are just always watching people go in the wrong lane. A truck almost hit another car. Brad Crowell 8:48  Oh, yeah. It's the real thing. Lesley Logan 8:48  So, so, so when I talk about this construction situation in Cambodia, I want you to know like, I do not think we are better. In fact, they might be better because what they did is start at one end of the mountain and pave a little bit, and then stop because they ran out of money, and then, but only on one side. And then.Brad Crowell 9:08  When you say one side, you mean one side of the street. Lesley Logan 9:08  One side of the street. Brad Crowell 9:11  Yeah. So they didn't pave both sides of the street the same time. They paved the right side like, imagine that they paved the right side street and they painted it like, you know, the dotted line in the middle of your of the road. Imagine that that was the right lane they painted. And then they or they would pave, and then they would stop for 300 yards, then they would pave for 300 yards, then they would stop for 300 yards. Lesley Logan 9:32  Yes, so you're on pavement, off payment. Brad Crowell 9:34  Then on your way back, they did the opposite, exact opposite. So almost looks like a zipper, right, and like, you're not allowed to, like, cross between the two sides of the road, but in order for. Lesley Logan 9:44  Everyone does.Brad Crowell 9:45  Everyone does.Lesley Logan 9:46  And if you're on curves, and it's, so everyone is driving on.Brad Crowell 9:50  You can get stuck, because, like, it's actually raised up off the ground by like a solid foot. So if you're on the paved part on the wrong side of the road, you can. And someone comes at you. It's not like you guys can just get off the road like, so it's like this. Lesley Logan 10:04  Yes, so you're playing like chicken, or all the motos are doing. Brad Crowell 10:08  I mean, it's not like they're going fast so. Lesley Logan 10:10  No, you can't go fast. It's pretty steep. Anyways, it is. It is the most fun to adventure, you're totally safe. And then we go down to the waterfall and we have lunch, and it's just absolutely fabulous. So, so anyways, you got to come crowsnestretreats.com.Brad Crowell 10:23  Yeah, crowsnestretreats.com I heard that we have an audience question. Lesley Logan 10:28  We do. I sent it to you. I sent it to the whole family.Brad Crowell 10:33  Yes, you did. All right. This is from YouTube @janethangan7368 says, excellent question excellent one question. This was on your full body Pilates tower workout. Excellent. One question. I think you keep saying fast connection, F-A-S-T fast. I know you're referring to an activation of the hams and glutes, but are you actually saying fast or what are you saying there, and where does the term come from? Your cueing and your tips are outstanding. I just can't understand you. I added that last part she didn't say that.Lesley Logan 11:08  Oh, I was gonna say, I don't remember that part. I remember like, I remember thinking, wow, I'm gonna put a compliment in with a question. Look at that. So, so over on the YouTube channel, so that's youtube.com/@onlinepilatesclasses, we, couple years ago, did upload a few workouts, and this is a Tower workout. Yes, I'm on a Cadillac, but it's a Tower workout, and it's a booty workout, because people who want to help you with your YouTube telling you you have to do butt and abs workout. So anyways, I am saying Thass® connection. Brad Crowell 11:37  Spell it. Lesley Logan 11:39  I was like, Thass® T-H-A-S-S it's where your thigh meets your butt. And really what it is is it's like the muscles that surround the leg, minus the hip flexors. So, so many people in Pilates are over using their hip flexors. In fact, one of my dear friends did a whole three month air quotes around Pilates pro challenge because she didn't really go to an actual Pilates class. And I was like, oh no, Pilates-inspired is marketing tool. That's not it. But she was talking about how much her hip flexors were hurting her in all the classes. And I'm like, yes, that's because you're not using your hamstrings or glutes, your outer hips and inner thighs, and that's what the Thass® connection is. And so. So, Jane, with lots of letters and numbers. It is the area that is not including the hip flexor that helps your legs move from your center. And you can find it in all Pilates exercises. And it's, in fact, very helpful. And I teach a workshop on this. In fact, I teach it on several different stops on our tour, including the Calgary stop, which is a virtual stop. So you could all join us for the virtual Thass® workshop to really understand this connection. Where did it come from? I heard a yoga teacher say foodie, and I heard it and thought, and I was like, I don't, I say ass, so I'm gonna say Thass®. Now, do I think I invented this word? No, because I'm sure that anytime someone quotes me as the trademark owner of Thass®, there's people who come at me like, you don't own this word. And it's like, well, technically, I do. It doesn't mean you can't use it. You just can't make money on it because I trademarked it, but I was known for it. I've been teaching workshops and this connection for over 10 years. It's been something I've been on a journey with, with myself, and so I'm not going to say that I'm the founder of this word, because language has been around a lot longer than all of us on this planet. However, it is something that I really am passionate about. So I hope you join us, Jane, for the Calgary event on on virtual if you can't join us in person at one of the events where we're teaching it in real life on the tour. You can send your questions in at beitpod.com/questions, you can also send your wins in to the same link. So, beitpod.com/questions. You can also text us at 310-905-5534.Brad Crowell 13:49  Yep, yeah. But go to beitpod.com/questions because.Lesley Logan 13:52  (inaudible) number was like, 310, be it till you see, like, you know what I mean, just be it. Can we have a phone number like, just be it? Brad Crowell 14:01  Be It Pod B-E-I-T-P-O-D 7, maybe we can do that. Lesley Logan 14:06  Yeah, figure that out, team. Brad Crowell 14:08  Yeah, team.Lesley Logan 14:10  Oh, while we're doing this, I haven't shown you yet, and you're not gonna see it, because Meredith and I are doing it ourselves, but we're doing new art for the pod.Brad Crowell 14:17  Oh, I love it. Lesley Logan 14:19  Me too. Me too. Brad Crowell 14:20  I've been thinking about actually changing up. Lesley Logan 14:22  I want to change the music. Brad Crowell 14:24  Yeah, all, a lot of things, just changing it up.Lesley Logan 14:26  Because I, because, here's the thing, and you guys, please send in your send in your comments and your questions and your wins here. I like the music of our pod on 1.75 speed, but I don't like it at 1.0 speed. And so I want a faster song now, like, I like this podcast has grown and, you know, it's I want it to just be like, I don't know. I just, I don't even know. Like, Lindsay Sterling was who I like based it off of before. And of course, we still love her, and she did a great song with Jeffrow, our dear friend, but I guess like it, but faster, so maybe we can just make it faster. So. Brad Crowell 15:08  We can make it fast, faster. Lesley Logan 15:10  Faster, faster. Okay, we gotta talk about Adrian. Tami-Adrian, we are we are late. People are wondering what's going on and why you're clicking over there. Brad Crowell 15:21  All right, stick around. We'll be right back. Brad Crowell 15:20  All right now, let's talk about Tami-Adrian George. She is a former competitive dancer and actress turned powerhouse Pilates instructor and mobility coach. Her journey has included everything from Super Bowl halftime shows to on set acting and urgent care medical work and now a thriving mobile Pilates business in Los Angeles. She's the founder of T.A.G. Pilates & More and has been teaching for over 34 years, it's insane, blending classical and contemporary Pilates with functional fitness and rehab. She's also a featured instructor on OPC, bringing her deep expertise to clients and teachers around the world. And Tammi is just so awesome. Lesley Logan 15:59  She's so awesome. She comes to the house a couple times a year. We get to hang out with her when she films and everything and when, whenever, whenever, she reminds me how long she's been teaching. I'm like, oh, you're much, you've been around longer. But she doesn't look older like she has such. Brad Crowell 16:16  No, she's just fun and hip and cool. Lesley Logan 16:18  She's so fun. She's so hip. She's also, like, proof, she's walking proof that if you, like, put your mind to something, and you figure out the resources that are there, you can have it, you can do it. You know, like, she just really doesn't let like obstacles stop her. She's like, okay, that's an obstacle. Let me figure out another way around it so. Brad Crowell 16:34  You can do it. Put your Thass® into it. Lesley Logan 16:36  That's right. So she said, one of the things I loved that she said was, we all have blocks of what we think we cannot do. Let's not measure you against a 19 year old on the mat next to you. Let's measure you against you. And I really love this because, you know, we just came out of an eLevate weekend, and people were like, oh my God, she's just got a beautiful practice. Like, how am I going to teach that? I'm like, what if we looked for the strength in her practice rather than the beauty of the practice? Like we all doesn't matter how the person that they're talking about is the same age as them, actually it doesn't the age is not even a thing. It's that we always are comparing ourselves to others and what they can do and then seen as a thing that we can't do, that we like, missed out. We missed the genetic opportunity to do that, or we missed out on the height to do whatever, like, the money, the time, whatever it is. And really it's like, you know, something that we're really proud of like even at OPC. And one of the reasons why we love Tammy and why she loves OPC is like she wants you to measure yourself against yourself. I want, we want to measure yourself against yourself. So whether that's in Pilates or or your job career or whatever you're doing, how can you see other people's achievements as opportunities, like examples that opportunities exist, rather than, I'm too old for that now, or it's not my legs are too short for that now, or whatever it is, right?Brad Crowell 17:48  Yeah, it's, I mean, with Tami, she's, she's seen it all, she's seen it all, right? And I think that, especially in Los Angeles, where she came from, was career, her career in acting like, that's like, literally, everyone's comparing themselves to everyone. Oh, my God, right. And so it's so intense. Lesley Logan 18:08  And also, let me just like, because I had to do castings like, I'll just say they just like compare themselves to everyone. So when Tami is an actress, like, there might be one role for black women, right? But then also, just in general, when I went to a was asked to go to a casting for commercial. They're like, we want redheads hipsters. So you are you're in a line, yeah, and it's like, everyone's redhead and everyone's wearing flannel. So you, you, it's so easy to start comparing yourself to everyone else like you, because you're like, Oh, we're all here because they wanted a redhead who can wear a flannel. Like, we're all here for that, you know? So it's it. I get that, like life is easy to do that, especially in certain situations, but it actually just keeps you from experiencing, like what you can in this world. It really holds you back.Brad Crowell 18:56  Yeah, the I mean, the one thing, that, one thing that I really dug was she was talking about climbing the mountain. You like, you have to climb that mountain. Everyone has to climb the mountain. And as you like, what in order for you to see the bigger picture, you know, it often just takes learned experience, like lived experience. And she was talking about, you know, lifting to view to see everything when you climb, then you can enjoy that view. You do a little dance, and then you're going to climb a little higher, and you're going to see a whole new view, right? Because you're going to, you're just going to see the world as a different way as you're going along each time you climb and hold that level for just the moment, you see a little bit more. You see more possibilities, right? So you go after those new possibilities, and then you see things from a whole nother perspective, all again, you know, because we're, we're living and growing and changing and climbing, you know, and I love that I was thinking about my own life when she was telling that story. And, I mean, you know, it's just like the the wisdom of having lived a long life, the experience that you have, you know, I laugh at myself because of, you know who I was and how I thought 20 years ago, even 10 years ago, even five years ago, you know, it I see things differently now, you know, and I actually think, you know, it's amazing, because where I like, I think this is where I'm always amazed by people who are, you know, in that 20s and 30s younger than me. I mean, not necessarily, whatever age doesn't matter, but who are younger than me, but have that bigger view than I do, even, and that's amazing to see. Like, it's those are the kinds of people who attract other people to them, because their vision is huge, you know. Lesley Logan 20:49  Yeah, yeah, I agree. We also, she mentioned one other thing, like, she was talking about just like, the settings for experiences that you're going through, like, sometimes you're, like, in a group class and like, that's a different style than if you are getting a one-on-one. And she'll say, like, sometimes it just, like, the things you want just require someone, like, someone's eyes on what you want, like a one-on-one experience, so they can be tailored to you. And I think that that's such an important thing. Like, whether it's your Pilates practice or it's your business. Like, you know, I think it's, there's the there's so much free information out there. Like, of course you can, if with the right question, with the right question, you can probably find the right answer. But sometimes you just need someone to, like, look at it from an outside perspective and go, actually, like, yes, you could do that. But what if you do it this way and just have that helping hand? That's what she does for her clients when she goes to their homes. And that's what she does with teachers who are wanting to go into teachers homes. Like she can bring that perspective that's just more tailored.Brad Crowell 21:49  Yeah, bringing, like, bringing it back to what you were talking about before. You mean, yeah, like, you know when you're measuring yourself against you sometimes, you're having a one-on-one or having a coach, you know that that truly changed our business was, was lifting the hood and letting somebody help us analyze it and be like, why did you make this decision and then this one seemed like, this was a great decision. Can you do that decision again? And we're like, oh, why didn't we think of that obvious freaking thing? Good idea.Lesley Logan 22:19  Yes, I do remember. I do. I actually know exactly which conversation you were talking about.Brad Crowell 22:24  You know, it changed our business. You know, like, hilarious. Lesley Logan 22:27  It changed our lives. Brad Crowell 22:28  It changed our lives. Yeah, so, so having that one on one, you know, in your Pilates practice can also be just as revelatory, you know, just a third party perspective. So I love that. All great points for Tami. Brad Crowell 22:39  Stick around. We'll be right back. We're gonna dig into those Be It Action Items. Brad Crowell 22:44  All right, let's talk about these Be It Action Items. What bold, executable, intrinsic or targeted action items can we take away from your convo with Tami-Adrian George? She said, hey, you know what I like to do, I don't set alarms of take out the trash or go do the thing. She said she sets alarms that build her up. And so she suggested that we all do that instead of wake up or walk the dog. Change that label to you're doing amazing. Let's go. Or even on tough travel days, she reframes it, woohoo. Today's a travel day. Let's do this, right? We love that. I think that's brilliant.Lesley Logan 23:20  I love this. It's because I just saw something on the internet was like, hey, like, change your like, your folders on your phone to like affirmations. And so, like, I did, and I'm like, trying to figure out how to get all of my apps into different folders so I can just look at the affirmations. Like, that's all I want. I'm like, what, what app is this? Is it I am connected, or is it I am seen? Like, I don't know.Brad Crowell 23:41  Well, the the alarms, if you're not familiar with this, I know on an iPhone, at least, you can actually set a message with the alarm, and that's what she's talking about. So your alarm can certainly just be standard, boring old, beep, beep, beep, whatever. Or you can have it do that and show you a message, because the alarm can be, quote-unquote, for a thing. So, you can set a reminder and inside of the alarm. So if you have never explored that, it's just, all you have to do is click the add a text button. Brad Crowell 23:40  I think it's worth trying right now. Just do it for tomorrow morning.Brad Crowell 24:11  Yeah, and you can, you can check that out. So, you know, set yourself a positive alarm. What about you? Lesley Logan 24:17  Okay, so I'm really, my biggest takeaway is that I'm really proud and excited to share like, Tami has been working so hard. And like, we've been able to watch it from this, like, the sidelines and cheer her on, and, like, help her in amazing ways. And she has an incredible eight week program called Have Skills, Will Travel. Brad Crowell 24:34  Have Skills, Will Travel.Lesley Logan 24:35  And she, it's a program, it's like you already you have a lot of what you need to have a mobile business, but she helps you put it in the right organization, so that it's you're not just driving around town like a maniac trying to, like service everyone, but the business works for you. And so.Brad Crowell 24:52  I mean, it's not just that, it's also like, a lot of practical tips and lit, like learned experience that we're talking about.Lesley Logan 24:58  Profitable. Not just profitability, but safety and sustainability so you don't burn out. Brad Crowell 25:03  Yeah, and she she does, like her program I was talking with her about, like her one-on-one coaching, and when she actually works with clients, she becomes their accountability buddy. So this eight-week program that we're excited to be able to host.Lesley Logan 25:17  Yeah, we're gonna host it on Profitable Pilates. Brad Crowell 25:20  Yes, it's going to be great, because it's going to be four live calls, virtual calls, where so every other week during the eight week program, and she's going to give you some homework to go do, and you're going to be able to wrap your mind around this business model and to really see, is this something that is for me? Is this something I want to do? And if so, you're going to be able to walk away with, like, a pretty good road map for getting started. And then if, as you're pulling, you know, like going out there to do it, you need more, you know, you can still connect with Tami outside of that afterwards. So, yeah, come, come join us. In order for you to find more information about this, go to prfit.biz/events. So, prfit.biz/events that'll put you on our waitlist for our live events that we're doing for Profitable Pilates prfit.biz/ Lesley Logan 26:08  Yeah, so even if Pilates or other fitness instructors who are wanting to do more in home, so instead of having your own space, you use their space, this is for you. And if you're even just curious about it, like it's it's going to be affordable and worthwhile. So that you don't you can go full in knowing you love this, or going, whoop, I'm so out on that. Like Tami, I think we joked about this episode, like, I am not an in-home Pilates teacher. It is not I want you to come to me, but like she's so good at it, you know? So anyways, I'm Lesley Logan.Brad Crowell 26:39  And I'm Brad Crowell. Thank you so much for joining us today. How are you going to use these tips in your life?Lesley Logan 26:46  Better tag us. Better send us to a friend who needs it. Send us to your Pilates teacher friend who needs it. And until next time, Be It Till You See It. Brad Crowell 26:53  Bye for now. Lesley Logan 26:55  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod. Brad Crowell 27:37  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell.Lesley Logan 27:42  It is transcribed, produced and edited by the epic team at Disenyo.co. Brad Crowell 27:47  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 27:53  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 27:57  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Bleep.mp3 by Yousefthe2ndGEN -- https://freesound.org/s/674065/ -- License: Attribution NonCommercial 4.0Support this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

WE HAVE THIS TREASURE IN EARTHEN VESSELS-THERE IS A TREASURE TO BE DESIRED AND OIL IN THE DWELLING OF THE WISE-HE THAT FOLLOWETH AFTER RIGHTEOUSNESS AND MERCY FINDETH LIFE-RIGHTEOUSNESS-&-HONOR-WE HAVE THIS TREASURE IN EARTHEN VESSELS-THAT THE EXCELLENCY OF THE POWER-MAY BE OF GOD-&-NOT OF OURSELVES-THE spirit OF MAN IS THE CANDLE OF THE LORD-SEARCHING THE INWARD PARTS OF THE BELLY-WHO KNOWS THE spirit OF MAN-"BUT GOD"-THE HEART IS DESPERATELY WICKED WHO CAN KNOW IT-GOD KNOWETH ALL THINGS-THE CANDLE OF THE WICKED SHALL BE PUT OUT-WE MAY LIVE ALL OUR LIVES-&-FAIR YE WELL-YET-WE MAY NEVER KNOW HOW MUCH MORE SPIRITUALLY MEANINGFUL-REWARDING-AND-PROOF WORTHY OUR LIVES COULD HAVE BECOME-YET EVEN SOME MAY NEVER KNOW THE VALUE OF THE LIFE IN THE LIGHT OF JESUS CHRIST-WE ALL WILL KNOW THE STRUGGLES OF THIS LIFE TO SOME DEGREE OR ANOTHER-WE ALL WILL BE HELD TO THE FLAME OF THE FIRE-SOME FOR THE REFINING PROCESS-FROM SILVER-TO-GOLD-&-FOR THE TESTING PROCESS-TO REMAIN GOLDEN-AND FOR THE TRYING OF OUR WORKS-&-FOR FIREY TRIALS-HOPEFULLY NEVER TO RETURN UNTO REPROBATE SILVER-DUE TO NOT BEING ABLE TO HANDLE THE HEAT-NEVER QUIT IN CHRIST-NO MATTER WHAT MAN OR WOMAN DO TO YOU-&-SOME WILL BE HELD TO THE FLAME OF THE FIRE BECAUSE OF THE WORKS AND BEHAVIORS OF THE UNREPENTED FLESH-BECAUSE OF THE FAITHLESSNESS THAT WAS TRIED BY THE FIRE-THAT FAILED TO PRODUCE THE STAYING POWER IN CHRIST JESUS-THE WORKS THAT SHALL BE BURNED ARE UNFAITHFUL WORKS-ALONG WITH EVERYTHING ELSE THAT IS DESIGNATED-UNREPENTED SINS SHOULD GO BEFORE US-TO THE THRONE OF JUDGMENT-COVERED IN THE BLOOD OF CHRIST JESUS-THE SINS THAT MEET US THERE-WE MAY FIND THEY MAY BE NON-NEGOTIABLE-&-DEFINITELY NON TRANSFERABLE-EVER HEAR OF THE TERM "RECEIPTS"-OR IN THIS CASE "PROOF OF WORSHIPS"-IT IS A DAILY BOOK KEEPING PROCESS OF THE SOUL-BALANCED BY KNOWING THE HEART OF GOD-&-KNOWING THAT GODLY SORROW WORKETH REPENTANCE-DARK DAYS WILL COME-HOW MUCH WILL THE TRUE CHURCH SEE OF IT-IN THIS LIFE-IT REMAINS YET TO BE UNEXPERIENCED FULLY OF SORTS-WE HAVE EXPERIENCED ENOUGH NOW TO KNOW SOMETHINGS AIN'T RIGHT-&-NO MATTER HOW MUCH WE THINK WE HAVE ACQUIRED IN THIS LIFE WITH JESUS CHRIST-SOME DAYS IT AIN'T EVEN WORTH STAYING HERE ON EARTH WITHOUT PHYSICALLY BEING PRESENT WITH THE LORD-&-AS ALWAYS IF THIS EARTHLY TABERNACLE-&-THE HOUSE WE LIVE IN-&-THE CARS WE DRIVE-&-IF THE MONEY WE MAKE COMES TO A HALT BEFORE "THE COMING OF THE LORD"-WE MUST BE ANCHORED IN JESUS TO WITHSTAND WITH JESUS CHRIST-THE LORD IS MY LAMP AND MY LIGHT-NO WONDER ALL THE 10 VIRGINS STARTED OUT WELL-BUT WHEN THE OIL FROM THE LAMP STOPPED AFTER MIDNIGHT-THE OIL FROM THE VESSELS WAS NEEDED-THE FIVE FOOLISH WERE FOUND NOT TO HAVE ANY OIL-TO PROVIDE FOR THE LIGHT FOR THE WAITING-GOD HAD THEM-BUT DID THEY HAVE GOD-THAT LED TO THIS BIBLE STUDY ADVENTURE-TO ASK OF GOD-&-MAYBE BE ASKED OF GOD-TO DARE TO TRACE THE BIBLICAL HISTORY OF THE PURE OLIVE OIL-WITH ITS SURROUNDING SCRIPTURES AND REFERENCES-IN THE KJV BIBLE-AND BE LED OF GOD IN CHRIST JESUS TO PROVIDE A BIBLE STUDY-BELIEVE ME WITH OR WITHOUT IT EVER BEING SAID AGAIN-GOD IN CHRIST JESUS IS RESPONSIBLE FOR THE GOOD AND PERFECT FEATURES OF THESE BIBLE STUDIES-&-I ASK YOU AND GOD IN CHRIST JESUS TO FORGIVE ME FOR ANY HUMAN IMPERFECTIONS FOUND-THIS I KNOW-THE WORD OF GOD STANDETH SURE-WE HAVE THIS TREASURE IN THE EARTHEN VESSEL WITH THE OIL FOR THE LAMPS IN THE VESSELS -ENJOY THE PODCAST-MEN AS TREE CD MINISTRIES.ORG"WILL TRAVEL"WE STUDY FROM-"ROYAL PUBLISHERS, INC., 1968PO BOX 47, NASHVILLE TENNESEE USA 37202 {456789} HOLY BIBLE RED LETTER EDITION KJV NEW CLARIFIED REFERENCE BIBLESOME CAN STILL BE FOUND SOMETIMES ONLINE-MAKE SURE "ACTS 2:38 READS "HOLY GHOST""THIS BIBLE WAS ON THE FRONT ROOM TABLE FOR YEARS AS A FAMILY BIBLE-"NOW LOOK WHAT GOD HAS DONE"---"PRAISE YE THE LORD"---AND SPECIAL-"THANKS TO MY BROTHER WHO BROUGHT THE BIBLE FOR MOM"

After 34 years of teaching, Tami-Adrian George knows what it takes to build a business that supports both your schedule and your sanity. In this episode, Lesley Logan and Tami talk about how she stumbled into Pilates, why she chose mobile teaching, and what it really looks like to run a thriving in-home fitness business. You'll hear about the mindset shifts that helped her get unstuck, the systems she uses to stay grounded, and how her Have Skills Will Travel method empowers teachers to build flexible businesses with purpose.If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co .And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe.If you have any questions about this episode or want to get some of the resources we mentioned, head over to LesleyLogan.co/podcast https://lesleylogan.co/podcast/. If you have any comments or questions about the Be It pod shoot us a message at beit@lesleylogan.co mailto:beit@lesleylogan.co. And as always, if you're enjoying the show please share it with someone who you think would enjoy it as well. It is your continued support that will help us continue to help others. Thank you so much! Never miss another show by subscribing at LesleyLogan.co/subscribe https://lesleylogan.co/podcast/#follow-subscribe-free.Guest Bio:Tami-Adrian George is a multi-talented mobile Pilates instructor, rehabilitation specialist, and business coach, best known for her Have Skills, Will Travel method. She began her career as a competitive dancer and NFL cheerleader, even performing at a Super Bowl. Transitioning into acting and modeling, Tami appeared in Starship Troopers, General Hospital, and more than 50 national commercials. The demands of the entertainment industry led her to Pilates, which became a transformative and sustainable approach to health and well-being. Pilates provided her with the stability to make empowered choices and redefine her career path. Embracing the freedom of mobile teaching, Tami built a thriving practice serving high-profile clients in private settings. Through her signature method, she now coaches service professionals to grow premium mobile businesses without the overhead of a studio—helping them create lives of flexibility, connection, and success. If you enjoyed this episode, make sure and give us a five star rating and leave us a review on iTunes, Podcast Addict, Podchaser or Castbox. https://lovethepodcast.com/BITYSIDEALS! DEALS! DEALS! DEALS! https://onlinepilatesclasses.com/memberships/perks/#equipmentCheck out all our Preferred Vendors & Special Deals from Clair Sparrow, Sensate, Lyfefuel BeeKeeper's Naturals, Sauna Space, HigherDose, AG1 and ToeSox https://onlinepilatesclasses.com/memberships/perks/#equipmentBe in the know with all the workshops at OPC https://workshops.onlinepilatesclasses.com/lp-workshop-waitlistBe It Till You See It Podcast Survey https://pod.lesleylogan.co/be-it-podcasts-surveyBe a part of Lesley's Pilates Mentorship https://lesleylogan.co/elevate/FREE Ditching Busy Webinar https://ditchingbusy.com/ Resources:Watch the Be It Till You See It podcast on YouTube! https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gLesley Logan website https://lesleylogan.co/Be It Till You See It Podcast https://lesleylogan.co/podcast/Online Pilates Classes by Lesley Logan https://onlinepilatesclasses.com/Online Pilates Classes by Lesley Logan on YouTube https://www.youtube.com/channel/UCjogqXLnfyhS5VlU4rdzlnQProfitable Pilates https://profitablepilates.com/about/Follow Us on Social Media:Instagram https://www.instagram.com/lesley.logan/The Be It Till You See It Podcast YouTube channel https://www.youtube.com/channel/UCq08HES7xLMvVa3Fy5DR8-gFacebook https://www.facebook.com/llogan.pilatesLinkedIn https://www.linkedin.com/in/lesley-logan/The OPC YouTube Channel https://www.youtube.com/@OnlinePilatesClasses Episode Transcript:Tami-Adrian George 0:00  We all have blocks of what we think we cannot do. We all have limitations we're holding on to, and sometimes you just need that one on one, eyes on you to say, great where you are you're doing fantastic. Please, let's not measure you against the 19-year-old on the mat next to you. Let's measure you against you.Lesley Logan 0:24  Welcome to the Be It Till You See It podcast where we talk about taking messy action, knowing that perfect is boring. I'm Lesley Logan, Pilates instructor and fitness business coach. I've trained thousands of people around the world and the number one thing I see stopping people from achieving anything is self-doubt. My friends, action brings clarity and it's the antidote to fear. Each week, my guest will bring bold, executable, intrinsic and targeted steps that you can use to put yourself first and Be It Till You See It. It's a practice, not a perfect. Let's get started.Lesley Logan 1:07  Hi, Be It babe, oh my God, oh my God, oh my God. So excited. We've been saying we're gonna have her on the pod, OPC teacher and truly expert in teaching your service in people's homes. Tami-Adrian George the one and only. Truly, truly, truly, so excited. She is here at the house filming for OPC, and we have exciting thing coming out with her. But I really wanted you to hear like, how your life can have so many chapters, and they all can layer upon themselves. I think sometimes we're so hard on ourselves about like, oh, I went over here, I took this detour, and I, what you're gonna hear in her story is like, how everything just layers upon itself, and how you can utilize these gifts that you have to do the thing that you want and it can fulfill you. You can be fulfilled, right? Instead of, like trying always to do the next thing. So here's Tami-Adrian George. I'm so excited that she's on the pod. Thank you so much for being here. Lesley Logan 1:55  All right, Be It babe. Guess what? We are doing things differently today. Our guest is in the house. Our guest is Tami-Adrian George. She is like, the one and only, most fabulous, most amazing. Can't believe the lives this woman has lived. I have been, Brad and I have been so honored tonight. I don't know that Tami knows this, but we met Tami through Agency Mini, many, many years ago. Brad did a call with you, and he got off, he's like, I really want to help her. She is amazing. She is such a go-getter. We could do so much with her. And here we are, I don't know, five years later, four years later, at least, I think it's five, and you have done so much. So Tami, will you tell everyone who you are and what you rock at? Tami-Adrian George 2:35  Well, hey there, yes, it's me, Tami-Adrian George, and it's been quite the adventure. I came into Pilates quite by accident. This was something that was going to save my brain, because before that, I had been in high school, competitive dancer, competitive cheerleader, choreographing, competitive competitions for other teams. I danced at the Super Bowl, things like that. Then I get out of there, get into college. Decide, let's, let's act while we're in the middle of college. Okay, let's do that. So I start modeling and acting. Almost miss my college graduation because I was working so much that I was never in town. I did the entire last year of university via fax. That's how old I am.Lesley Logan 3:32  Can you believe it that they did that? I'm impressed that they did that.Tami-Adrian George 3:35  My professors are really great. So by the time I got to the end, you know, they were willing to sit and talk with me and say, okay, why is it that you're never in class? Have you been to the movie theater lately? Then I realized this time that I was on different sets, especially photo shoots in particular. But any set, there is this weird dichotomy that goes on where they want you to fit into the wardrobe, but they have this thing called the craft service table, which is a giant table laden with every food you could ever want that will knock you on your butt with fatigue and sleep, will make you bloat instantly, and you're not allowed to eat any of it.  Lesley Logan 4:20  Right. But it's there. It's there. They fed you. They gave you the opportunity to eat, but they really you're not supposed to do it. Tami-Adrian George 4:29  And I was around people with some really terrible eating habits, some really disturbing and dangerous habits, and I realized I need to figure out something to do that I can do while I'm traveling. There's not always a gym available. I can't always go for a run. Sometimes I'm in a country or a state that I've never been in before by myself, and I can't just go for an hour run. And I stumbled into Pilates, and the instructor that I was working with this wonderful woman named Jacqueline Potter said I really think you need to become an instructor. And I'm thinking, My life is so full I don't have time. But I went ahead and kept doing it. Started, oh, this is kind of cool. Oh, I could do this. I could do that. And I realized that by becoming an instructor, I got to learn more, and I got to do more. And it was, it was always the thing that kept me grounded. So no matter what set I was on, no matter where I was traveling in the world, I always had Pilates. I always had a stable of clients at places that I was teaching around town, private sessions that I was doing in people's homes. And it gave me the freedom to turn down jobs. I didn't want to do a lot of nudity. I didn't want to do a lot of sex scenes. There were things that I just knew weren't right for me at the time. This is, you know, the 90s, early 2000s every person of color was stripper, sex worker, girlfriend of drug dealer, dead.Lesley Logan 5:57  You'd be dead girl number two.Tami-Adrian George 6:00  Yeah, that's what happened. You get this, this great character, and you do all this character development, but you're really still secondary. And I was fighting for every part, because it wasn't like it is now. And there came a point once I got married and once I had a son and actually killed my husband in a movie. That's how we met. My husband had some serious health issues going on, and I realized I wasn't getting the joy from acting that I was getting from Pilates, from my clients, from helping them get to their goals. When an audition would come through, or sometimes even a booking would come through, I would get this tightness in my chest, like I don't want to do this job. I just got this particular person through a hip replacement. We're not done yet, and you want me to go sit in hair and makeup for three hours. Are you kidding? So eventually the pandemic hit. And I think that's how I found you and Brad, the Agency is, I'm home by with my husband and my child, but I'm alone, and I need connection. Lesley Logan 7:10  Yeah, yeah. We all find ourselves in a place where it's kind of like, not a fork in the road, but just like I can't keep going the way it's going, and I've gone as far as I can go on my own, and I need help, and I just so, you know, know, like, I go every few years. I'm like, okay, I've gone as far as I can with the knowledge that I have. Changes have to be made, shifts, and it's interesting. Thank you for taking us on the journey. Of like, the pendulum swinging. Of like, first Pilates was there to support you. Then Pilates became something that you did in between jobs, then it became like, oh, actually, I'm enjoying this more. And how, how interesting that you're so connected to yourself because of who of all the work you did, that you could feel like, oh, I'm not getting excited about a booking. Like I should be excited about a booking.Tami-Adrian George 7:54  Exactly. And I left out the years that I worked at an urgent care that also had a family practice and a workers comp suite attached to the medical complex, and I was always hanging out in the physical therapy workers comp area, looking to see what they were doing. What are you doing now? Why are you doing that? And to see that oh my gosh. Pilates is physical therapy. It all comes full circle. The exercises that they're teaching are some of the things that I'm learning over here. I don't know about the rest of the country, but I can say in California, physical therapists are not allowed to work on a part of your body that is not in your doctor's prescription. Lesley Logan 8:40  That's definitely in the States, yes. Tami-Adrian George 8:42  Period. But the body heals as a unit. The body compensated for your injury, your surgery, whatever you were going through as a whole. So that's why, even though you got your knee replaced on the left, your right shoulder is killing you, because we're doing these things to balance through the body when we're in pain. So it was interesting for me to see these amazing physical therapists whose hands were tied, and now they were starting to reach out to Pilates instructors and say, I'm doing this with my patient. Can you supplement them and get them back to whole. So that's a whole nother part of you know what you're doing in your life starts to come in every, you're doing everything for a reason. You don't know what it is, yet. Lesley Logan 9:33  I love this. I actually do. I, you're kind of on the same mindset as I just been hearing that, like, I think it's really easy for us to go, oh my God, I wish I'd known this then, or I wish I'd done this now. Or I wish, I feel like I wasted my time there. And it's like, actually, y'all, if you just take a look at your whole resume, not just the resume you put out for the job that you want, where you like, you know, let's move with this thing, and let's adjust this thing. But if you look at your whole resume, everything you've done has assisted in getting you to where you are and what you liked about those things, there's commonalities that you can like, you can actually borrow from to help you figure out, like, what, where do you want to go? Because, as Pilates instructors, you and I have had very different careers. You know, I did have some in-person clients. It did not fill my cup, it did not fill my joy. But it feels yours like, it's like, literally, the thing that you do. And I think, like, had I not ever done in person, I couldn't actually help people who are like, oh my gosh, go teach in someone's house. I'm like, okay, hold on. Hold on. Because I had to go into someone's house where I definitely it was at the top of, like, it was in L.A., it's like, the top of Hillcrest, the last house on the top of Hillcrest. You guys, I'm driving my Mini Cooper, and I'm going there. And the security is like, okay, you can come in here. You can go here. You know, the ambassador will meet you in here. And I'm like, what is he the ambassador of? And no one would give me his name. And then, like, damn it. Then one day, the sheriff, literal, the sheriff, was just sitting there watching me teach him. And I'm like, I'm sorry, this isn't a viewing show. You can work out too. Like you're just gonna work out because I'm not gonna be watched by the sheriff. And then the mayor, the fucking mayor, shows up. You guys also, they were not exactly the cleanest sheriff or the cleanest mayor. So I'm like, now, like, who is this guy? I'm always getting paid in cash. And then I was like, one day, I was like, leaving. I was like, there's always a car inside this house. It's always watching this house. I'm gonna be questioned. I'm gonna be interrogated. I was like, I can no longer teach in person. I was like, I just thought myself them going, you, you know information, you're gonna be like, microphoned or something. And all I could hear is this man, belp and fart. But, like, you know, anyways. But I think, like, it was never a waste of my time, because it really allowed me to go hold on, like, let me understand that part of the business, so that when you came in to Agency, we could really see, like, what a gold mine and what a great thing you had going, and how you could elevate that.Tami-Adrian George 11:55  I started, like, all Pilates instructors start, right? You have to do the observation hours, and you have to do the practice hours, and then you have to do some apprenticeship. So I feel like I've been in all of the parts except for actual studio owner. I have managed, I have supervised, I've trained other instructors. I've been the employee, I've been the independent contractor, I've been the person who rents studio space. I've been in all of the situations, and it's so funny what you're saying about you know, these people, I have a file, not a digital file, an actual file folder filled with NDAs, of things I have had to sign for, the various people I have worked with over the last 34 years. I always used to think, well, okay, I have to tell somebody where I'm at, because if I disappear, no one will know.Lesley Logan 12:53  Yes, yes, yes. Thank God for location services on the phones now, because now that's a thing, but that wasn't a thing when I was teaching at home. So it's like, okay, you couldn't even, there wasn't even a signal up there, so I couldn't call for help if I wanted to, yeah. Tami-Adrian George 13:11  Totally. Lesley Logan 13:12  Well, okay, so Tami, I mean, Tami-Adrian, we know you as an OPC teacher, and we know you have, like, what's been really cool in watching you the last five years is that you have been really not just solidifying your business, but, like, truly enjoying the business that you've created. I think that that's really unique. A lot of teachers keep thinking that, oh, I've reached this peak. Now I gotta find another goal. I gotta find I gotta find another goal. Can you tell us, like, a little bit about what you do as a day to day gig, and then also, like, how you came to go, wow, I really, like, this is really for me, because I think a lot of people listening, even if they're not a Pilates instructor, can actually learn from like, oh, what maybe are the signs or the the qualities or the feelings that make me go, oh, I'm actually fulfilled. Tami-Adrian George 13:56  Oh, yeah, yeah. Okay, so my let's start with the day-to-day, and then I want to tell you about like working with you and Brad and how that helped me come into just a completely different feeling about what I was doing. So a typical day to day for me is I will start the morning with my virtual private clients, some of whom are back east, so the timing works out perfectly for me. So once I finish those sessions, then I pack up the lunch bag. It literally looks like I'm going on a picnic. You're with me. You and Brad are with me. You know, I eat every five minutes. I take little, tiny bites. I'm like a tiny bison. I graze all morning long, and I start heading out for the day to which client is on the roster for that day. And we have different things we might be working on. So sometimes I might have my golfers, my pickleball players, who have very particular goals. There are things that we are trying to do. So I have been trained in both classical and contemporary Pilates, because I need to be able to spin on a dime to what someone is telling me at that moment. And I'm very big on what is your ultimate goal? If your ultimate goal is I'm going to my sister's wedding. I want to look great. I'm not the person for you, and I will find you an amazing person who will make that happen for you. I'm the person who when you say, I need to get my handicap down, I need to be able to play a full 18 holes without my back hurting, and I'm going on a golf trip where I'm going to play five days in a row. Oh, now I have a vision. Let's do this. Let's go. Then I make sure I have breaks throughout the day. I'm very particular about where I'm teaching, the distance I'm teaching, because it can't be be bopping all over town all day. And there are times that I book into my day so that I can go for a walk. I teach in really beautiful parts of the Los Angeles Westside beach communities. So there's time to go for a walk, there's time to get my own workout in, there's time to sit down and eat real food, and I'm usually done by a fairly early part of the day. I don't actually work that many hours a week. And then maybe there's a beach walk with my husband or my son's in universities, so there's a phone call or FaceTime with him, and then there's my time where, what's the thing that fills me today? Do I want to do a meditation? It turns out I'm not the morning meditation person. I, it's not my jam at all. Lesley Logan 16:33  To me, the morning is like, okay, the morning has started, and I want to start with it. I am. I find I have it better at the afternoon going, okay, well, I don't actually want to do anything, so I'm gonna procrastinate with meditation.Tami-Adrian George 16:42  Exactly and then two hours have passed. Yes, I have reached all the masters in the universe, but now I don't want to do anything and, and I believe very strongly that your great day starts the night before. So there's always a part of my afternoon and evening where I am prepping for the next day. Either it's the food I'm preparing or it's looking over who's on the schedule for the next day and where are we in progressing them to their goal. So I'm thinking ahead of what exercises I want to do, things like that. And then I also coach, so I have other instructors, and also people who aren't Pilates instructors, massage therapists, you know, anything you have that is a service that helps someone can be mobile. And I might be on a coaching call, speaking with someone about where they're at in their business and helping them get to their call. Lesley Logan 17:38  Yeah. So because can you, since you have done everything but own a studio, I've done similar, I've done all of it but work at a franchise. So like, I, can you talk about, like, how did you decide, or know that, like, going into homes actually is how you wanted to teach, versus, like, having people come to you because we sit on opposite sides. I'm like, you can come to me. You know, but like, you're like, no, I liked, I can go here and I go, is it just the beach walk? Like, what made it so that you really like to go into people's homes?Tami-Adrian George 18:10  So the first studio I ever taught at, Pilates Studio Pasadena, doesn't exist anymore because the parent company went bankrupt. And what we didn't know was it was a, it was like a a compound of fitness. There was a private workout place here, and a this, and a that, and a yoga student, all these things that were in Old Town, Pasadena, right where the Rose Bowl comes down the street, not the Rose Bowl, the Rose Parade comes down the street. What we didn't know was that the Pilates Studio was who was making money, and we were covering the payroll for all of the other workout facilities, and sometimes our checks would bounce. And one day, we found out doors are closed, we are done, but we all had keys, so I know that the statute of limitations have passed until we find talking about it. So who got together? We unlocked the studio at night, we unloaded all of the Pilates equipment, put it on the trucks and drove it to someone who had just bought a home they didn't have any furniture yet. And we put it like, okay, the dining room has all the Wunda Chairs, and the living room is going to have the Cadi and a couple of Reformers, and the back patio put this, and there was literally something like a click, oh, I'm in a house. I'm in a house doing Pilates. Now I'm doing it with five other instructors, and we worked for free, because right before that company went out of business, we were selling packages.Lesley Logan 19:46  Right. So all these people had paid. Tami-Adrian George 19:47  We'd had a big drive and all these people had just bought packages, and then the door shut, and we didn't know that that big drive was their way of getting cash to cover the businesses. They knew they were gonna go bankrupt. They just didn't tell us. So then I had to work for free to train out all of those packages that I had personally sold, because now my reputation was on the line. And as we got into studios and got the people would always say, can you come? Could you come to my house? Could you do this at my house? Could you do this? And it started with one person, and then another and another. And I realized there is a connection that you get to make in that private in-home setting, people will tell me things that they will never tell me in the studio, because there are other people in the studio, or if I was teaching a large group class, even a small, let's say, a foursome or a trio, there's no time to talk. We are here because the entire group is trying to move. So I didn't always get to understand their history, their surgeries, their injuries, whatever it was they were working towards, and also, too, their blocks. We all have blocks of what we think we cannot do. We all have limitations we're holding onto, and sometimes you just need that one on one, eyes on you to say, great, where you are you're doing fantastic. Please. Let's not measure you against the 19-year-old on the mat next to you. Let's measure you against you.Lesley Logan 21:22  Yes, oh, I do love that. I mean, I agree. Like people are a little more comfortable in their homes. You can also then and actually see like their setups. And you go, okay, so you said it was the Pilates last week that hurt your back. But do you see like this slope that you, you know, or like, can I look at this chair that you're sitting on at your desk? Like, that's not helpful, you know what I mean. So you do get more insight, but also they do have a bit more focus, because they're not distracted by the person and the other performer who's talking too loudly or who's doing crazy things, and they think they should be doing crazy things. It is more it's more personalized in that way as well. I love that. That's so cool. What a funny way of getting into like, knowing, like, oh, I could teach at a house. And then, because you had kept up with those sessions, that they're like, oh, can you teach me at my home? Because now they're seeing, Oh, I'm in a home. I could do this at my home. Tami-Adrian George 22:12  Yeah, they're like, wait, you can fit a Reformer here/ Yes, absolutely. You can fit a Reformer here. And you know what? You don't even need the reformer. Honestly, everything we're doing on the Reformer, I'm telling you, if I put you on the mat, you're going to shake like a leaf in the wind. You do not know how hard it is once we got to that point, too, of sharing that. And here's the other thing I find that is really interesting. Yes, the personalized attention. There is nothing like it. But the biggest problem I solve for my clients is time and convenience, there are certain people I tend to have CEOs, chairman of the boards and their families. For them to spend an hour in traffic trying to get to a studio, then circle around looking for parking, then finally do their workout and have to repeat the drive back home. It's hours of their time that they just do not have available. Lesley Logan 23:07  Well, they're not, then they can't be consistent, because then they're only can do it on a good week and and then they're frustrated because they yeah, all of those things. So like people, like them, they they're gonna have to pay for that time and convenient miss of you coming to their home, but now they can be consistent.Tami-Adrian George 23:22  Exactly. And, really, that's the secret, isn't it? That's the secret sauce. If you want to get results in what you're doing, it's the consistency.Lesley Logan 23:30  Yeah, yeah. I, you know, it made me think, like, as you were talking, when I, I always thought you had to have a big studio. Probably, it's very similar to you, like you work about I have the first show I ever worked at was a big studio. The first time I went to a Pilates studio with equipment, had multiple Reformers and all the things. And so I just thought, Oh, you have to have all of that, and all the in L.A., all the famous teachers were famous studios all had multiple of everything. And I'm like, I'll never own a studio because I have student loans. I have all this. I need all these things. And it was when I had put myself in a group of people, the community that I saw, one of my friends had made a private space for herself where there was just one of everything. I was like, oh, I could have, I could have a private studio. I could have, like, just, I could just teach the private because I only teach privates in a couple semi-private so, like, I could just do this. So I think it's really important for anyone, no matter who you are, listening like, it's important that we are inspired by other people sometimes, because we get blinders on of like, this is my experience. This is the only way that works. This is a way I've seen that work. So I have to do it this way. And when we're exposed to other environments or other ways of people doing it, then we can go, oh, I'm not gonna do it just like her, but I could do it like this, or I could do it like that, right? Like we, we kind of need that. We need that in the community that we're in.Tami-Adrian George 24:48  Exactly. I love what you're saying. It's making me think of the the other thing I wanted to mention when I started working with you and Brad, I didn't realize that what I was doing had a system. It was just what I was doing, because nobody else was really doing it in this manner, and to then have support of someone saying, no, what you're doing is actually a thing.Tami-Adrian George 25:11  Yeah. It's a thing that you're doing. Tami-Adrian George 25:14  You're doing a thing, and there seems to be a way that you're doing the thing, and we're going to help you do the thing better, and we're going to teach you how to structure it so that it's repeatable, and that you can take pressure off of yourself and that you can have support, and that we're here when you need us. And you know, there was a guy who used to always say, you're trying to have the panoramic view, but you're at the foothill of the mountain, so you have to climb a little and then you'll see a little more. And then you enjoy the view. You celebrate the view, do a little dance, and now climb higher. And each time that you climb and hold at that level for just a moment, just to enjoy it. You see more you see more possibilities. And eventually you start having a wider view, and you start seeing, oh my gosh, I can do this with that. During the pandemic, talking about that time, one of my favorite, favorite people to work with, had a stroke. So, I can't get to him. We've rehabbed him virtually because, oh, this online thing really works. And it was a little bit of convincing me and convincing him, but, guess what? He was back out there playing golf, doing all the things, no problem. You know, the deficits were seriously down. Yeah. And I needed that view. I needed that lift to view, lift to view, repeat.Lesley Logan 26:55  Well, and what I'm hearing you're saying is, like, we all need someone to go, oh, you're doing a really great job here. And if we do this now you've got a system, and now it's repeatable, and you're not wasting your time, or you also even need to see like from other people's perspective. Oh, what they're doing. Oh, I love that for them. And then that also helps you solidify like you like what you're doing. Like, we all need it wherever we are, because we can get so closed off, and then we, running a business is hard. The business is hard. I've said this a few times now, like, and I will keep repeating it because it it really blessed my heart, like when someone in our Agency asked the Pocket Lesley, which is like a bot of me train 10 million of my words, you know, 10 years of coaching.Tami-Adrian George 27:36  I love Pocket Lesley, because she's my size.Lesley Logan 27:40  She's, she's like, have you ever had an obstacle in your business? And it's like, yeah, daily.Tami-Adrian George 27:46  Like, you mean this last hour? Lesley Logan 27:47  Yeah, daily. And so when you have someone to go, oh my God, what you're doing here is really amazing. It helps you go, oh, okay, it is, it is amazing. I just am having a hard time right now. I'm, I'm at the foothills, and I can't get to the panoramic view, where other people are right now, and so, you know, we at agency are so excited, because we have helped thousands of businesses in this industry run things the way that they want to. And one of the things we've celebrated along the way is like, each year that we've known you, we've watched you run your business so it supports you and your family. And I think that's what's so cool, because it's not just because you go into people's homes that your business supports your families, because you are intentional about what your goals are and how your business need to support that, and then we could support you in doing that, and year after year. And now here you are, only in five years you put systems together, you have a very thriving business, and like you mentioned, now you get to coach other service people, to have a business that does it the way that you do it. Tami-Adrian George 28:45  Absolutely. Lesley Logan 28:46  That hat, like, you know, can we talk about the be it till you see it for that like, what would, what were the what was there was there mental hurdles you had to do? Was it just like, because, because I was so excited, when you're like, I'm doing this. I'm like, yeah, you should. Tami-Adrian George 29:01  The hurdles were, oh my God, the hurdles were real. Remember, you should do the videos, The Struggle is Real? Oh, the hurdles are real. It's, it's, you were talking about being in the tunnel. We're working so hard towards something that we believe is the only thing. And I don't, actually, I don't think I have anyone right now who is exclusively mobile teaching. They are either business owners, they own a gym, they own a studio, they are also teaching like community classes, say, at the Y or at a gym someplace, or they're renting studio space, and now they're adding mobile training as an extension, as another service, I mean, and that's the thing, I think, for people to understand, you're providing a service. You're not just teaching a class. You are a service provider. So you can provide as many services as your heart dreams up. Let's make that happen for you. And there's a gentleman that I'm working with right now, and he had become almost exclusively online in big, big, big classes, and he hadn't had the one-on-one connection with his students in a long time, because everything was far away. And when I say online, not live, I mean, pre-recorded classes. And he was so burnt, so burnt out. I don't like this. I don't want to record any more classes. I don't want to walk into a room of 30 people anymore. And I said, you know, you're the reason it's not in your heart is because your heart is not reaching anyone. So we took starting one day, one day of your schedule. We're gonna make this your mobile training day. This is your I'm out in the field, and we're gonna start letting people know. Just pick amongst your favorites. We're gonna start letting people know you're available. He's now having to hire another trainer because he has this established brand. But now people are like, oh, you can come to me, too? And you have a kind of a signature thing that you do, and you can do it in my home with me? Let's do this. So it's how you would like your business to be. It's not give up your studio, give up your gym. Never book massages at the hotels ever again. It's how can we incorporate this into what you're doing so that you can expand. You also get to charge more, just saying.Lesley Logan 31:31  I was gonna ask you, the number, the number one thing that we see people do wrong when they go into people's homes is discount the price. Yeah, you are, yeah. And if you're, like, how do I know what to charge? Well, guess we'll have, stay tuned. We have, we have help for you there. But like, yeah, you it's convenient for them. It is not necessarily convenient for you, for so many reasons, because booking back-to-back doesn't exist. Like in my studio, in my home, like, people can come every hour on the hour, and I can fit four people in four hours and be done, right? You do not fit four people in four hours, you know? So that is so when you are working with people in their home, you have to charge. There is a higher cost to that, because they are paying for convenience, just like when I order food to be delivered, it is more expensive than when I order it at the restaurant.Tami-Adrian George 32:23  It's a premium it's a premium service and you are bringing your knowledge to someone. So yes, now the premium is even higher because you actually know what you're doing. Of course, anybody can take, my gosh, I call them the Pinterest workout plan.Lesley Logan 32:42  Oh, okay, I call them Instagram workout plans. But yes, anyone can do that. Tami-Adrian George 32:46  They start culling and culling exercises from all these different places, and they put them together, and then they wonder why they're not getting the results, or now they've injured themselves, or they're burnt out and they don't want to do it. And there's a reason for that. People, it's like New Year's resolutions, any promise you make to yourself that is a promise broken. Lesley Logan 33:07  Yeah, because you need the accountability of someone else, and you also need their guidance. You know, we all need it. I mean, I say I pay a Pilates instructor to teach me. I can teach myself, and I do multiple days a week, and two days a week, I'm held accountable to a full hour with someone watching me to give me feedback, because left to my own devices. I'm going to check my oh, I'm going to change this podcast. Oh, look at that full hour outside. We all need it, right? We all need it. We all we're laughing because we all need it. Even coaches like you and I have coaches for things that we do, because we all kind of need this. And there is an investment there. And yes, it does mean, like, some things can be inaccessible to people, but also for every single one of you listening, no matter what your business is, you're not you cannot solve the world's problems. You can solve a problem for someone that feels like it's their whole world. You can do that, but you gotta, like, really dial it in. And I think, like, what you do so well, Tami, is there is a slice of of the pie that of people who would prefer to be convenient for them so they can be consistent and and you can, if you're a teacher, a massage therapist, whatever, you could be the person who does that. That's your expertise. So Tami, we're super, super excited. We're gonna let the cat out of the bag a little bit of what we're doing here. So, so we, at Profitable Pilates, truly love being able to help teachers of any background, true like run a business that works for them. Like we do not do templates. We have a formula. I should say we have two. We have a scheduling formula, and we have a pricing formula, but all of those require your goals to go into the top for it to filter through, so there is not a single and even if the price answer is the same as someone else's, like, what went through and all the different ways you get there is very, very different. So we're super excited, because you do what you do so well, and the world is missing an expert like you. So tell everyone what we what we've got going on, we've got planned. Tami-Adrian George 34:58  So, I have a method called the have skills will travel method, yes, because really, that's what you need to be a mobile instructor, the skill set you already have and some gas in your car. Let's go. In between those two things are a whole list of things you need to know and need to be doing to make sure that it is indeed profitable and that you are safe, and that you are happy and your client is happy. So I'm taking my one-on-one three-month coaching program, and we are creating a special group coaching program that is just for Profitable Pilates, just for, well, we'll have Agency members there too, and it will live in the Profitable Pilates universe, so excited, and we're going to do this as an eight-week program.Lesley Logan 35:57  Oh, I love this, because it's any we all have eight weeks we can dedicate to doing a dream. We all have it because every dream takes a long time. Anyways, eight weeks is like a fraction. Tami-Adrian George 36:04  And it doesn't matter where you're starting from, wherever you are in your business and thinking about doing this, or you're already doing this. It works where you're at, jump in, where you're at.Lesley Logan 36:18  Yeah, and I just want to say, like, if you're like, you're like, oh my gosh, you guys, I can just make sure I charge more, and I can just go, yes, you could. And then you get to learn a lot of weird things the hard way. I'm sure Tami was like, oh my God, Lesley, you went into some random house on the top of Hillcrest. My heart. Tami-Adrian George 36:34  As soon as you were telling me that. And I was like, oh my God, Did you have a safety buddy?Lesley Logan 36:41  People knew where I was going. And I did tell the ambassador's team. Okay, my people know where I'm going. I mean, to hear, however I will say, like I did listen to, like, murder in the Hollywood Hills, the dateline, and I was like, oh my God, that is like, I can't believe that doesn't happen more often, because, like, so many women are offered, oh, there's a modeling gig and at the top of this house, because everything happens and people so anyways, there are so many different things, not just safety, but also not just pricing, that you have to be thinking about and when it comes to doing this. So that one, it still works for you. And two, everyone wins. The clients win, but your business wins because you are allowed to be successful in your business and achieve wins for other people. So if you are someone in the service based business, or a Pilates instructor who's interested in seeing how this service can be added to your business, you might even decide you don't want to do it afterwards. And that's fine too, because now you solve that without having to sell a package and then go fulfill it. So, so you can go to Profitable Pilates website. We have P it's prfit.biz/events and you can get on the wait list for this. But we're going to take a brief break and then find out Tami-Adrian's Be It Action Items. And also, where else you can, just like, kind of stalk her in a good way. Tami-Adrian George 37:50  Absolutely. Lesley Logan 37:50  All right, Tami-Adrian, where do you hang out? Because you also do give out great advice, you know, for free on things that you hang out on.Tami-Adrian George 38:04  I hang out on Instagram. That is my jam. I am @Tami.Pilates.rehab and it's T-A-M-I and then you can also find me at T.A.G., my name, Tami-Adrian George, tagpilates.com head over to the website, links, move around, dance around in there and sign up on the waitlist. We're so excited to have this group together so that we can be learning and growing together.Lesley Logan 38:33  Yeah, I mean, it's going to be so, so amazing. And I just want to say, just like you could, if you need to, because I've been in a place where I've had to call free advice together, absolutely you can, but at some point, if all you've ever done is call, just pull it together and bounce around from free advice to free advice. I would say that investing in something like it's an eight-week program is so it's a risk-free type of environment, because it's you're not committing for longer than that. You know, at Agency, we do make people commit for six months, and the reason is, it's like, it does take time. But for this particular topic, you can, eight weeks, get your systems in place and really understand, like, is this the thing I want to do, and how do I do it right. So from the beginning, you don't have, like, oh, I'm undercharging that person. So now I've got to go back and tell them a new rate, even though I've been, you know, like we want to, we want to make sure it's, it's it's beneficial for everyone. So get on the waitlist, either on Tami's website or on prfit.biz/events. We'll get that taken care of. Tami, you are so wonderful. I mean, I'm so Brad and I just adore getting to spend time with you. We always learn new things. Your life is its own adventure. So I really hope, like, at some point you'll be a child author, which is like, The Adventures of Tami. You know what I mean? Like, I just feel like there's so many different things you could do, but can you give everyone some Be It Action Items, bold, executable, intrinsic or targeted, steps they can take to be it till they see it. Tami-Adrian George 39:50  Okay, this is one of my favorite things. And before I say, have to say, I love you and Brad so much. It has been the best adventure I have been on with the two of you, and I'm so glad. I'm so glad we're still having more adventures together. It's just fantastic. Okay, everyone has their phone and you set alarms on your phone for things that you don't particularly want to do. I set alarms on my phone randomly throughout the day that pump me back up. So where it says label, instead of putting wake up, walk dog, things like that. I put, how are you so amazing? I put, congratulations. You are crushing it. How are you doing this? That's what's on my alarm system. Oh, my God. I'm obsessed.Lesley Logan 40:37  I'm changing all I'm gonna have alarms just for no reason whatsoever. I don't even like being disturbed, but I'm gonna be it myself disturbed.Tami-Adrian George 40:44  Now, if I have to set an alarm because I have to wake up early I'm catching a flight, something like that, I will say, woo-hoo you're traveling today. Let's go. That's what it says while the alarm is going off. So when it goes off on your phone, instead of, oh my God, I have to be up and get on the flight. I'm like, oh yeah, I'm traveling. Let's go. Oh myLesley Logan 41:05  god, this is going to change my whole life, because I often wake up going, I don't know where I am and what day today is, but if my alarm didn't say wake up, it would say I could have it say something else, you know, like. Tami-Adrian George 41:14  You are in Singapore, aren't you lucky?Lesley Logan 41:20  Go get that coffee, babe. Go get it. I, this is a wonderful, wonderful because, you know, there's so many different things you want to remind themselves up. And if you're unable to have Post-Its all over your house, it could be alarms. What a cool way to do it.Tami-Adrian George 41:35  Because the reminders, if I set a reminder on my phone, I don't do it. Yeah, I don't. No.Lesley Logan 41:41  No, it's in my work or it doesn't get done. I don't need an alarm going. It's time to do this. Be like, ignore. Yeah, oh, I love, Tami, I love that. That's so everyone can do that right now. Okay, we ought screenshots of the alarm going off. We want them to send it to tami.pilates.rehab. We want you to send it to the Be It Pod. We want you to share this with a friend who needs to hear it. Maybe, if you are not a Pilates instructor who wants to go in-home, but you know someone who does, they need to hear this. Because, here is the deal, when your friends complain about how their life sucks, you have to listen. And you know those people, they repeat it. And what if? What if you could, you could change that. So then you guys could talk about what's exciting. Tami-Adrian George 41:42  I'll listen for you. Yeah, I'll listen to the complaints for you. Lesley Logan 42:03  Tami will listen. That's why we have people who are, like, in Agency, they're like, oh, my friends are with this. I'm like, why are you helping them? Not that I don't want you to be a generous person, but you invested in this. So you can focus on you. If they are unwilling to invest in themselves, in their business, you can be a great friend. You can be a great friend. And so, oh, it sounds like you've been working on that for a long time. Have you thought about getting help? Like, that's still helpful, that's still listening, but y'all, we have all been trained that, oh, we're not a good friend if we don't just like, do every like, give all the advice, no, you have to at sometimes, focus on you and be like, I'm here for you. And here are some resources that have helped me. Tami-Adrian George 42:59  I think you're being a better friend by saying, okay, you have to take action. I want you to take a step that is truly for you. I'm investing in me, and, God, I want to see you invest in you. Let's do that.Lesley Logan 43:11  Yeah. Oh, I love that. I love that. Obviously we could talk forever, because we do. We have so much fun. So, Tami-Adrian George, OPC teacher, incredible coach for in-service home, have skills, well-travel people and top, best of the game when it comes to helping people reach their goals and all that you do with your teaching. So thank you for being here. Everyone, how are you going to use these tips in your life? We want to know. Tell us and until next time, Be It Till You See It. Lesley Logan 43:39  That's all I got for this episode of the Be It Till You See It Podcast. One thing that would help both myself and future listeners is for you to rate the show and leave a review and follow or subscribe for free wherever you listen to your podcast. Also, make sure to introduce yourself over at the Be It Pod on Instagram. I would love to know more about you. Share this episode with whoever you think needs to hear it. Help us and others Be It Till You See It. Have an awesome day. Be It Till You See It is a production of The Bloom Podcast Network. If you want to leave us a message or a question that we might read on another episode, you can text us at +1-310-905-5534 or send a DM on Instagram @BeItPod.Brad Crowell 44:21  It's written, filmed, and recorded by your host, Lesley Logan, and me, Brad Crowell.Lesley Logan 44:26  It is transcribed, produced and edited by the epic team at Disenyo.co.Brad Crowell 44:31  Our theme music is by Ali at Apex Production Music and our branding by designer and artist, Gianfranco Cioffi.Lesley Logan 44:38  Special thanks to Melissa Solomon for creating our visuals.Brad Crowell 44:41  Also to Angelina Herico for adding all of our content to our website. And finally to Meridith Root for keeping us all on point and on time.Support this podcast at — https://redcircle.com/be-it-till-you-see-it/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Westerns and Comedy on a ThursdayFirst a look at the events of the dayThen, Have Gun, Will Travel starring John Dehner, originally broadcast July 17, 1960, 65 years ago, Little Guns. Paladin travels to Preston, Arizona, when his old friend James Ellis hires him to prevent a range war.Followed by Gunsmoke starring William Conrad, originally broadcast July 17, 1960, 65 years ago, Busted Up Guns.  The Indian agent on the Sioux reservation has gone off the deep end, is drunk and determined to keep guns away from the Indians.Then Our Miss Brooks starring Eve Arden, originally broadcast July 17, 1955, 70 years ago, Planning a Trip to Europe. Miss Brooks is trying to promote a summer vacation trip to Europe...but so are Mr. Boynton and Mr. Conklin.Followed by Granby's Green Acres starring Gale Gordon and Bea Benederet, originally broadcast July 17, 1950, 75 years ago, Granby Discovers Electricity.  Granby decides an electric milker is needed for his farm. Finally, Hilltop House, originally broadcast July 17, 1953, 72 years ago, The Wrong Letter.  Dr. Browning gives Julie the wrong letter about Reid. Bad news?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

Quaranteam – Book 1: Part 15 Andy meets Tala, Jade and Whitney. Based on a post by CorruptingPower, in 25 parts. Listen to the Podcast at Explicit Novels. "What's the agenda going to be like tomorrow?" Lily asked Andy while Ash got up from the table and headed outside so her conversation with Niko wouldn't disturb them. "Tour of the house first, a one on one with me and the reporter second, then a group interview with me and basically all the girls including the staff, then a handful of one on ones with some of the girls afterwards. I know Emily and Sarah are going to do one together, so they can talk a little about their relationship before the plague and how it affected them. Neither Sarah or Emily were out as bi before, and it certainly wasn't public knowledge that they were a couple, so I'm sure the reporter's going to have some questions on why they kept it quiet, but that's typical Hollywood bullshit. They'll handle it just fine without me getting in the way." "Didn't you say you had some girls showing up today?" Eric said. "Yeah, three people today, but I imagine they'll probably still be in the imprinting process by tomorrow, so they won't be around for interviews, although we'll see, I guess." "Speaking of handling it," Eric sighed, "how are you holding up with Matty's death? It's awful that he got sick and died from trying to help someone." "Yeah, but that was classic Matty," Andy shrugged. "He never stopped to think about these things if he thought someone needed his help. I'm dealing with it, some days better than others. From time to time, I just want to call him and talk to him about all of this, but then I remember I can't, and I have a good cry for a bit. But Xander's moving here to New Eden, and that's going to help, I'm sure." "Cool," Eric said. "Xander's always been a good guy, and it's smart to keep in touch with the people who knew you back when you were young and foolish." "I was young and foolish then, I feel old and foolish now." "Having Xander around will be good for you. He's always been better at calling you out on your bullshit than I am," Eric said, picking up a french fry. "And your long history with him means he knows when you're not saying something." "You know, I still think it's unfair you got both Sarah Washington and Emily Stevens, Andy," Lily joked. "You should've sent one of them over to me, er, Eric. I'm, I mean, he's jealous." "They're a set, Lily," Andy laughed. "You would've had to take both of them, and I think you probably would've gotten Sarah killed when she found out I was here. I know everyone's in love with Emily. You didn't strike me as a Dagger Academy fan when we were sharing the condo, though." "I'm not," Lily said, raising her empty glass, making sure a waitress caught her eye and started heading over to refill it. "But I fucking loved the Badass Ballerina movies, and I would've done Sarah in a heartbeat. Is she ask spunky as she seems on TV? That time she was on The Daily Show, and that girl in the audience told Sarah that she was on her boyfriend's list, and she started flirting with the guy immediately, that fucking killed me. Tell me she's really like that." "She's absolutely really like that," Andy said, as a waitress refilled all of their glasses. He'd been trying to cut down on his soda intake, but when he was stressed, he tended to double down on it a bit, so he was drinking Pepsi, same as Lily and Eric. "She's also a massive fan of the Druid Gunslinger books, if you can believe it." "Bullshit," Eric snorted. "I don't think there's any possibility she's a bigger fan than Dave, who got us in here just to get a copy of the new book six months early." "Wanna bet?" Andy grinned. For the next few minutes, Andy related the story of Comic Con panel from last year, where Emily and Sarah had participated in his Q&A, asking questions while being disguised in head to toe cosplay, so nobody could recognize them. By the point that Andy was telling them about how Emily had done her best to maneuver both her and Sarah into his care, Eric and Lily were both laughing quite openly, incredulous to the surrealistic twists and turns their lives had taken this year. "Holy fuck," Lily said. "I guess you weren't kidding when you Sarah would've raised hell if she found out you were here and she wasn't paired with you. I bet she fucking devoured the new book as soon as she arrived." "Well, I didn't tell her it was done until the day after she was imprinted, but yeah, as soon as I did, she grabbed it and refused to do anything other than read it until she'd finished it." "What did she think of it?" Eric asked. "She thinks it's the second best one in the series, after 'Have Totem, Will Travel.'" "Yeah, I still think that's the best one as well, but you're not done yet. On that topic, how's it coming?" "I've finally got a draft I'm mostly happy with, and I'll be sending it over for your thoughts probably in the next couple of days or so." Eric grinned from ear to ear. "Well, that just made my day. First draft?" Andy clicked his tongue, rolling his eyes in frustration at the challenge the book had presented to him in the writing. "More like fifth. I finished the first draft like a month and a half ago, but when I sat down and reread the fucking thing, I tore a shitload of it apart and rebuilt the entire second act so that it didn't suck." "I'm sure it didn't suck before." "Well, it's better now, that's all that matters." "Can I read it as well?" Lily asked. "I don't want to intrude if it's not cool,” "Of course you can, Lil," Andy told her, a little delighted and surprised. "I thought you weren't a fan of the books." "Well, I'd only read one of them before meeting you and it was the one you weren't a fan of yourself, so Eric made me read the first one about three weeks ago, and since then I've read them all. 'The Problem With Were Bears' really is a terrible place to start." "I know, I know, alright?" he laughed. "If I could unpublish it and rewrite it from the ground up, I would, but it's out there, and I can't." "Stephen King rewrote the first book of The Dark Tower and published it a second time," Eric pointed out. "Stephen King I ain't, Eric," Andy deadpanned in return. "So what's this new one finally called? You seemed like you went through a dozen titles." "It's called 'The Fatal Solstice,' although I have to see if Nicole thinks it works." "Nice fucking title, dude!" Eric cheered. "I think that sounds badass." "Sarah started reading it this morning, so she'll have my first set of fresh eyes on it." "You're just now letting her read it?" "I just finished the draft yesterday! I didn't want her reading it until I felt like I had a semi finished final draft." There was a jingle of a bell as the front door to the restaurant opened and Ash moved back inside, heading to the table, a grin from ear to ear on her face, one that almost worried Andy a little as the Irish redhead slid back into the booth next to him, wrapping her arm around his shoulder. "Okay, I'll bite," Andy said, after a few seconds of silence, with Ash not saying anything, just grinning at them in an expression that bordered on derangement. "What's up? What did Niko have to say? Everything fine at the base?" "So Tala, Whitney and Jade will all be arriving soon," Ash said. "Tala seems like a gas. Niko let me talk ta her for a couple of minutes, and I cannot tell ya how glad I am you chose her, having now spoken with her a bit. She's going to fit right in." "Dare I ask what that means?" "She and Niko seem like kindred spirits, that's all I'm saying." "Yeah, well, Niko once blew me in a public park because she thought I needed to take the edge off, so maybe that doesn't put me as much as ease as it does you," Andy smirked. "Did it?" Lily asked. "Did it what?" "Did it take the edge off?" "I don't have to answer that." "I suspect it did take the edge off." Andy scowled at her, narrowing his eyes. "That's not the point." "I rather think that it is," she teased. "Fine," he admitted. "Yes, it did. But that doesn't mean it was a good idea." "No," Ash said, "that means it was a great idea. Waitress? Can we get the check please?" The woman at the counter nodded. "How do you want it split?" "No split," Andy said. "I'm covering it." "Andy, man, you don't have to do that," Eric said, looking a little pained. Andy waved his hand. "I told you that Watkins just gave me a shitload of cash, so let me spend a little bit of it on my friends from time to time. Speaking of which,” He reached into his pocket and pulled out a personal check he'd written a few hours ago, sliding it across the table to Eric. "That's for you." "What's this for?" Eric said, not even looking at it yet. "Look, I know you were undercharging me rent for years and years, Eric, because you knew I couldn't afford more, and because you liked having someone else sharing the condo with you, but now I do have a bunch of money, so consider it me paying off back rent." "I'll remind you that there were a couple of years where we were both out of work." "So that just makes it even in more important that I settle up my debts," Andy said, handing his credit card to the waitress, not even looking at the bill. Eric picked up the check, looking at it, shaking his head. "C'mon, Andy! Man! This is too much! I can't take this!" "You already did," Andy said with a grin. "I don't often get a chance to do nice things for my friends any more, Eric, so you're just gonna have to give me this one." "I mean, you brought me into New Eden," Eric laughed. "I think that would've settled all our debts right then and there. I mean, my house isn't quite as nice as yours, but it's still a fucking fifteen room mansion here in the Bay, so between that and this," he said, waving the check around, "we are now absolutely, unequivocally even, okay?" "Yeah, alright," Andy answered, as the waitress handed him the credit card receipt and his card. Andy filled in the tip amount at 25% of the bill, then signed the slip and pocketed the card back into his wallet. As soon as he stood up, Eric hugged him hard. "Thanks again, Andy," Eric said. "It's good to have friends in this place." "I always promised you that if I got success, I wouldn't let it turn me into an asshole, Eric," Andy laughed, as his friend finally released him from the bear hug. "I just thought it would've been from my own doing rather than the generosity of some random guy I played poker with." "If you think all of this isn't of your own doing, Andy," Lily said, giving him a quick hug, "then you haven't been paying attention." "I suppose." Lily and Aisling exchanged hugs and they all walked out together to the parking lot. Andy laughed, as Eric pulled out the keys from his pocket and pushed a button, as a red Porsche 911 beeped in recognition. Eric shrugged a little with a smile. "Came with the house. Seemed rude to say no." He and Lily hopped into the sporty car and sped off, heading back towards their house, which was just down the street from Andy's. Andy and Lily climbed into the Tesla Roadster and brought the vehicle into motion so they could head back to the house. As the Tesla curved across the road, Andy asked "So how did Niko sound after her interview? Was she feeling okay?" Ash reached over and took his hand in hers, squeezing it. "Yer always so worried about all of us, Andy. We're nae made of glass. She sounded fine, I promise. She was laughing about th' whole thing, and she said she thought you'll do fine. She spent a bit of time today talking with all three of th' new girls, answering any questions they had and getting 'em set ta get acclimated in the house." "Should I even ask what kind of questions the girls had about me?" Ash rolled her eyes with a smirk. "The usual kind of stuff. Anything they should know not to talk about, or things you particularly like. Nothing ya need ta worry about. But I have a request, for me, something that'll take a little bit of work on yer part, but you can manage. You just have to keep yer mind on it." "That sounds ominous," he laughed. "It's really not, love," she giggled back. "A few times over the next few days, you're going to feel like yer first instinct is to get mad at something, but y'need to promise me that you won't, alright? That you'll take a deep breath and you'll say thank you when yer given a gift. If you have any one flaw, Andrew Rook, it's that sometimes ya get inside of yer own head too much. So I'm going to need you to trust in others, that the amazing women who you've allowed inta yer life are doing not only what they think you want, but what they want as well. Y'think ya can handle that?" "I'm not entirely sure what the hell any of that means, Ash, but I promise you, I will try and keep my wits about me and not lose my temper at any gifts that I'm given." "That's all ya need to keep in mind, love." When Andy brought the Roadster back to the house and parked it in the garage, he saw that all the cars were in the garage, which meant both Niko and Lauren were home. Niko being home also clued Andy in that the new girls had actually already arrived a bit ago, which was good. It would've let all of them have a chance to talk with one another without the pressure of his presence. He'd sort of learned that the first time he met any new partner, there was the weight of expectations already surrounding his arrival. Some of the girls had been eager to get on with it immediately, some had been willing to chat and talk with him a bit before hand. As he'd done more and more first impressions, he'd gotten better and better at it. But these three, each was so unique, and so different from each other, and this was the most people who had ever shown up at one time, so Andy wasn't even sure how he wanted to approach this. He hoped that the girls would've mostly figured it out for him before he arrived. He got out of the Roadster with Ash, and they headed into the house. "I imagine they're in the main living room, love," Ash said to him, as they walked down the hallway. They'd had a few months to get used to the layout of the massive manor, but if he wasn't paying attention, he could still get a bit turned about. They arrived to the basement living room, and before they'd even gotten to the room, he could hear the rush of voices interspersed with bouts of laughter and giggles. The sound warmed his heart, and he was pleased to see all the familiar faces gathered around the three new ones, everyone turning to look at him when he entered with Ash pushing him on the ass when he paused a little bit in the entryway. "Hey there, ladies," Andy said, grinning. "Welcome to the House of Rook, I suppose." The first person to rush him was Tala Jordan. The Iranian American woman, Sheridan's friend, was certainly the curviest woman to join his family, dressed in a tight white t shirt underneath a pair of jean overalls that clearly seen more than its fair share of paint, and still bore a wild array of multi colored splotch scars. The shirt and centerpiece of the overalls were straining against her heavy tits that were large enough to give Hannah's a run for her money. The white shirt was semi sheer, and Andy could see the outer edges of her dark aerola just peeking from beneath the overalls. Her dark hair hung loose, long and down her back, framing her rounder face. She had painted her lips a bright shade of rose, lush and vibrant. And she had on the most shit kickery of brown leather cowboy boots that he'd ever seen. "Hey there, studboy," she grinned, as she strolled up to him with an overconfident saunter, reaching up to pull Andy's lips down into an almost domineering kiss, not giving him an inch of control. Not that he minded. While her tongue was busy burrowing into his mouth, one of her hands pushed down the front of his pants, rubbing against his cock before sliding back out as she drew back from the kiss. "Here we go now. Just what I was looking for," she said, raising her hand up to the light, a bit of precum gleaming on the skin of her palm. Before Andy could say a word, she snaked her tongue out and licked up that smear of clear liquid, and as soon as she did, he had to lunge forward to grab beneath her arms, keeping her from falling down to the ground as that priming orgasm shattered her mind for a moment, all without a fraction of a sound escaping her trembling body. A few moments later, her breathing had returned to normal and she looked up at him with adoring brown eyes, wide and aroused. "Fuck that was great!" she moaned, looking a little fuck drunk already. "Sorry, I just couldn't wait to get that first fix so my clock could get started." She flashed him a saucy little wink. "Sher told me all about that delayed activation she went through, and while she made it sound like hell for her, I think it sounds boss to me so I didn't wanna give you a chance to say no." "Well hello to you too, Tala," he chuckled. "I couldn't get those words out before you basically manhandled me." "Oh c'mon," Tala said, "you wouldn't have complained even if my tongue wasn't pinning yours down. And because I know you're gonna be worried about all of this, the reporter tomorrow's going to ask if they can get footage of someone being imprinted for the show, and I agreed to be filmed, but by Emily and not their camera person." Emily waved a little bit. "I've done some camera work before, so I know what I'm doing. I'll frame it so that you only see her face, Andrew, if you're alright with it. Katie Couric asked Niko if it was okay, since you did have three new women arriving today, if one of them could wait until tomorrow and get filmed being imprinted. She did say both you and the woman in question would have to give permission, but Tala volunteered, so it's in your hands." "I mean, if you're okay with the entire world seeing your sex face, Tala," Andy shrugged, "who am I to say you can't?" "Well, you're going to eventually be my husband, dude," Tala said, that wide grin of hers never going away. "So you can't just pawn it off as entirely my decision. If you don't wanna do it, we won't do it. But I think it'd be good for their story, and fuck do I care if people see my O face?" "You're also okay waiting a full day after being primed to be imprinted?" he asked. "That damn near drove Sheridan crazy." "Oh, I'm hella hoping it's gonna," Tala said, braggadocio and swagger in her voice. "But I'll manage. And if it's too much to take, we can do that as soon as Katie arrives, before you do any interviews. I'm a big girl, and I've got on my big girl panties. I'll hold fast and stay true." "I'll give ten to one odds that you aren't wearing any panties right now, Tala," Sheridan teased. "I refuse to cover those odds!" She giggled, leaning up to kiss Andy on the cheek again. "And I can't hog all of your time, so you and I will just have to have our fuckdate tomorrow." "Hopefully you brought all your music gear with you," Andy said to her. "I remember when you were fronting The Grendelles, because I saw you open for Mike Doughty at The Independent. You guys were pretty good, although your drummer looked like he was high as fuck, so his tempos were all over the goddamn place." "Yeah, Casey was a fuckin' drag and hella fucked up so many gigs," she sighed. "But he OD'd a couple'a years back, so that ended that band." "Thought the band name wasn't great either, but you made fun of it yourself at that show, so I figured you knew that already." She reached behind him to give his ass a quick goose. "Daphne, the band's guitarist, came up with it, and we got a little bit of heat, so we were stuck with it, at least until Casey died. Last I heard from Daphne, she was down in L A and had taken up working as a studio rat, engineering for other people's shit, writing songs for suckers that can't do it their own damn selves. But don't you worry,  all my gear'll show up in the next couple of days, and I'll turn one of the bedrooms into a little music studio. I'll even make sure it's soundproofed and a good distance from your writing nook, so you won't even know when I'm hella getting my jam on." "Damn, girl," Sheridan said, "you're gonna take up so much of our damn space, between your music studio and your workshop. Maybe you should just convert the pool house into your working area. You could make the living room into your wood working studio, convert one bedroom in there into your music studio and the other into your own little living quarters." "That's a dope idea!" Tala said, not letting go of Andy, keeping her full tits pressed hard against his side. "Assuming you're cool with me changing the living room over there into a maker's room. And sorta commandeering the pool house. I don't wanna come in here all Bossy Magoo and shit, but it would mean everyone else wouldn't have to deal with the sound of heavy saws when I'm working on furniture, 'cause even I get tired of that shit some of the time." "You'd have to make certain you came into the main house regularly, though, and didn't just spend all your time out there alone. I mean, it's probably fine, but let me have a couple of days to think about it before I say yes, okay?" "Oh, totes, totes," she said, leaning up to kiss his cheek again. "Anyway, don't let me steal all the spotlight." She pulled his head down in another firm kiss before she slipped away from him with a mischievous giggle. Andy immediately knew why all the girls liked Tala,  she was approachable, personable and generally just seemed like a good time. The second girl to approach him was Jade Dillon, who had decided to show up wearing her 49ers cheerleader outfit, gold hotpants shorts and white crop top that left most of her toned abs exposed to the eye, her skin a sun kissed tan that clearly had enjoyed having a summer off without any children to teach. She looked as fit as Sheridan, Piper and Lauren, but a touch more muscular and a little less flexible. Her honey colored hair hung in loose corkscrews down to the middle of her back. She, thankfully, wasn't wearing the sort of heavy makeup that seemed to be necessary for performances at football games, instead electing to just have some basics. Her eyes were a vibrant green, the shade of summer grass in its prime, and her smile beamed in his direction, her teeth an almost reflective level of white. She strolled right up to him and wrapped her arms around him, hugging onto him tightly. "I know that we just met, but I just wanted to tell you how super grateful I am that you chose me," she said, burying her face in his chest. "I know you didn't have to take me in, and I'm sure that Lauren told you about my, ah, inexperience, and I totally know how that can make so many guys super nervous, but it didn't make you nervous, and that's great, it's just so darn great, and gosh, I just can't even tell you how happy that makes me, how all this makes me, getting to be a part of such a marvelous family. I know I'm talking like a mile a minute, but I have to get all of it out before any of it slips my mind, or I just get too nervous and tongued to talk." She was trying not to cry, and then she giggled to herself for a minute. "I'm Jade. I know it's silly to tell you that, but golly, I just feel like if I didn't, I'm not properly introducing myself." "Hey Jade, welcome to the family," he said with a smile. "Is it okay if I kiss you?" "Oh shucks, yes please! That sounds wonderful!" Andy helped her lean her head back so he could look into her eyes again, then leaned down and kissed her. She was only a couple of inches shorter than he was, so it didn't take much adjustment. Whereas Tala had been intensely eager, Jade was a bit more shy and reticent in her kiss at first, but she quickly warmed up to him, as if she was worried that she was being too reserved and was attempting to overcompensate by going all at it. "I changed into the Gold Rush outfit after I got here," Jade said, "because Hannah said she thought you'd like it. I can't say I blame you. Every man loves a cheerleader." She looked over to the curvy Asian teen, who gave her a wide smile and a pair of enthusiastic thumbs up. "You didn't have to wear it if you didn't want to," Andy said, a little shyly. "Oh, I totally don't mind! I mean, you're doing so much for me, it's the very least I could do!" "Thank you for accepting the offer to join the family, Jade." "No no, thank you! You have an amazing bunch of women here! So, I kinda sorta have a special request, if that'd be okay with you?" she said, looking up at him. She wasn't as massively confident as Lauren had made her out to be, at least for just that moment, but Andy was pretty sure he knew why. "All you have to do is ask, Jade," he said, trying to put her more at ease. "I talked with Niko about how this whole imprinting thing works, and, well, I'm very much looking forward to making love with you, but I don't want my first time,” She blushed a deep shade of red a moment before carrying on. "I don't want my first time.. having sex, I don't want that to be the thing that imprints me. So I was hoping maybe I could just, ah, go down on you to get imprinted? And then I can have my first time a little later? Without the added extra pressure of knowing it's doubly going to change my world completely?" She smiled up at him, that wide expanse of pearly teeth flashing at him. "Is that okay with you? I know it might be a bit much to ask, but golly, I feel like it's just so gosh darn important to me that I'd better speak up about it, right?" "That's not a problem at all, Jade, but I'm gonna have to ask a favor of you in return, if you're okay with it." "Oh, shucks, that seems totally fair! What can I do to make us square?" Andy laughed a little. "You absolutely, positively have to ditch the fake cussing here in the house, before it drives me bonkers." Most of the other girls laughed at that, and Jade blushed a little once more, but she also smiled, maybe even a touch embarrassed by it. "I understand you've gotten into the habit of it because you're teaching young children all day, but when you're at the house, around the grown ups, you gotta either just swear or at very least stop using fake cuss words. It's like goddamn nails on a chalkboard to me." "I know, I know," Jade laughed. "It's really hard, considering I spend so much time teaching kindergarten, but I'll work on it, I promise. I mean, I am a grown ass woman capable of saying the word 'fuck' now and again." Lauren smirked and waggled a finger in her direction. "I've known you three years, Jade, and that's the first time that I've ever heard you say it." "I mean, is it really that big of a deal?" she asked, looking up at Andy. "It's, actually kinda creepy to me," Andy said. "Fake cussing drives me up the fucking wall. If you don't want to cuss, then don't, but please don't use that weird G rated shit in its place, because it's just, it's just unsettling." "And besides," Emily said to her, "Andrew truly does love actual cussing. When a girl is willing to get more and more salty for him, the faster his cock grows nice and hard for us." Sarah grinned broadly, moving over to put her arm around Jade's shoulders. "You know what you fucking need? A motherfucking profanity coach! And I'm the shit when it comes to swearing! The absolute tits! I can be! That! Fucking! Coach!" she said, punching the air with her other hand. "Well, no. I can be your coach on teaching you how to say 'fuck' a lot more, but not how to fuck. Although I suppose I could teach you how to do that as well? Whatever. We'll fucking figure it out. You just stick with me, bitch, and I'll turn Mary Poppins into a major slut in the best fucking way." Jade looked up at Sarah, a strange look on her face. "I don't think I can say no, can I?" she giggled. "A profanity coach? Really? What makes you qualified for that?" "Oh, I'm like the most fucking qualified," Sarah said, as she pulled Jade away from Andy slowly. "I'm more fucking qualified to teach swearing than any sailor you're ever going to fucking meet. I learned the power of a good swear word early in life, and it's, like, my fucking superpower. I can work filthy language into any goddamn conversation I want to, all without offending anybody, because I'm good and super fucking cute at doing so! You can be that way too!" Jade looked back at Andy. "Saying no to her isn't an option, is it?" "Oh, you could try," he chuckled. "But you're just going to lose in the end, so I dunno why you'd even want to try." "Wait!" Sarah said suddenly, as if remembering something. She slid away from Jade and ran over to grab Andy, wrapping her long arms around him to hold his body against hers as she kissed him hard and fierce, teasing her fingernails against the back of his skull for a moment, her body trying to press his into hers as hard as she could for what felt like an eternity before finally breaking the kiss for air. "That's for letting me read the new book before anybody else got the fucking chance to, even your goddamn agent or your legit best fucking friend. I have some notes and a handful of suggestions, but mostly? I think it's your best fucking work yet, absolutely lit. And the sex scenes were good before, but the one in this book? When Dr. Shirow practically fucking devours the Gunslinger? Ohmyfuckinggod, was that so fucking intense! I kinda broke out a vibe and had a go at myself when I was reading it. I'm not ashamed! Like, I totally knew they'd had, like, this creeping sexual tension in books before, but fuck was it hot when she just ripped his clothes off him after patching up his wounds, then fucked him on the operating table when he was too wiped out to do anything more but lay there and enjoy it. Total sploosh moment. She kinda reminds me of Niko a bit." Niko brought her hand to her mouth to cover her laugh, which made everyone turn to look at her. She was still in her camo from the base, not having changed into more casual clothes after getting home, meaning she must have brought the new girls right here and never left to get changed into something less intimidating. "Something you'd like to share with the rest of the class, dear?" Emily asked her, arching one of her finely plucked blonde eyebrows in amusement. "I dressed as Dr. Shirow for Halloween a few weeks back, at the party where Covington stopped by to convince Andy to play in the poker game that resulted in you and Sarah being here," she said, almost uncharacteristically shy for her. "After he agreed to do it, I, uh, might have kinda forcefully taken him later in the evening to say thank you, because he only agreed to go to protect my friend Charlotte, Asha's mom." "Remind me ta thank you for that," Asha said to her. "That got me here." "Did, did you base that sex scene on our little tryst in the bathroom, Andy?" Niko asked him. He looked around the room, realizing that every single other pair of eyes in the room was focused on him. "Uh, am I in trouble if I did?" "Not in the least." "I might have, sort of, kind of, just a little, I wrote it the next morning, and yeah, they say write what you know, so,” he said, trailing off. Niko started giggling furiously before Sarah brought Jade over with her, moving to high five the soldier. "Oh my fucking god. I'm a fictional super hot as fuck doctor now, and people all over the fucking planet are going to read about how great I fuck, this fucking rules," she said. Sarah grabbed Niko's face and leaned down to kiss the mixed race woman in a fierce mash of lips, while Jade was basically prevented from moving anywhere by Sarah's other arm. Niko moaned a little bit into it, even as the kiss parted quickly, Sarah biting onto Niko's bottom lip for a moment to pull it back then letting it pop from her teeth. "You, Emily and I have a date to have ourselves some fun in the next few days, bitch." Niko nodded, almost a little frantically. "Oh yes, please." "That sort of thing's okay in the house?" Jade asked Andy. "Definitely, if that's what you're into," he said, leaning against the arm of one of the couches. "Look, there's only so much of me to go around, and a lot of the women here are into other women, and that's safe and fine, so it's not only okay, it's encouraged, if that's what you want to do. Emily and Sarah were lovers long before they got here. Same for Lauren and Taylor, despite a rough patch in the middle. But for the most part, nearly everyone here is still pretty new to one another." Aisling nodded. "We may all feel like we've known each other forever, Jade, but I'm the first of Andy's partners, and we only met seven months ago. Lauren and Niko showed up a few weeks later, but after that, we remained as that group for a while." "Right, but Emily's got to be have been here for months, right? She seems like she knows Andy so well!" Jade said. Emily giggled, shaking her head, her blonde hair covering her face for a minute before she flipped it out of her face. "We've only been here a couple of weeks, love," she said, an almost shy smile on her face. "But Andrew, Sares and I have an indirect history that I might suspect contributes to us giving off that impression. We all still have so much to learn about one another, which is part of the reason I won't sleep anywhere that he isn't, ever ever ever." Niko reached to place a hand on Sarah's ass, as the tall redhead was framed between the smaller solider on one side and the 49ers cheerleader on the other. "Andy really is who I told you he is back at the base, Jade," she said, looking past Sarah. "Whatever you do and don't want out of this family, he's going to be completely cool with it. I've kinda wanted to play with Sarah and Emily a bit, and I knew Andy would be okay with it, but I just didn't know how to bring it up to them." "I'll bet he might even want to watch, or participate," Emily teased. "No comment," Andy laughed, "but you girls are more than welcome to have fun without me." "But if you wanted to, and you knew he'd be fine with it," Jade asked, "why haven't you?" Niko reddened slightly. "I mean, they're fucking gorgeous! I know they're going to be co wives with me and Ash, but Ash and I have had a lot more time to get comfortable with each other! I figured I'd get around to seeing if Emily and Sarah wanted to play with me when I was ready." Sarah reached down and bopped Niko on the nose with one of her fingertips. "You're totes adorbs, Neeks," she giggled. "I'm gonna enjoy making you fucking squirm when I make you cum. It's gonna be hella cute." "What.. what if I'm not into women?" Jade asked. The look on her face said that it was something she'd never really considered one way or another, and to suddenly have so many options in front of her was a tad overwhelming, like a starving man presented with an all you can eat smorgasbord. "Then you don't have to play with anyone you don't want to," Andy said. "But if you want to experiment, that's okay too. Lauren told me you don't have a lot of sexual experience, and that's completely fine. Nobody here is gonna judge you for it, and if they do, I'll paddle their ass for it, unless it's Lauren, in which case I'll just tie her up and not paddle her ass, because she likes that sort of thing." "Spoilsport," Lauren said, sticking her tongue out at him. "Look, Jade, before Aisling came into my life, the most adventurous sexual encounter I'd ever had was a slightly drunken threesome in my youth. Since then, I've have all sorts of wild experiences, and I've had space to learn what I do and what I don't like." Sarah leaned down and mocked a stage whisper to Jade. "Spoiler alert: He fucking loves a sweary slut." All the girls laughed at that before Andy spread his hands in a 'you got me' motion before continuing. "Nobody in this house is going to judge you for what or who does and doesn't turn you on, Jade. I do not allow kink shaming in my fucking house. Everyone here is getting something out of being here, being part of this household, but I'm not making anyone do anything they don't want to do. Nor will I, ever. Take Katie here, for example," he said, gesturing to the Latina groundskeeper, who had joined all the staff to meet the new housemates. "She's married to Jenny," he said, gesturing to the blonde cook whom Katie already had her arms around, "and she's entirely a lesbian. Completely sexually disinterested in men. But she and Jenny wanted the security of being in a house where they were safe and taken care of. Katie's said she's never going to want to fuck me, and that's completely fine. She needs to get my semen regularly, but the first time she did it, she and Jenny took turns blowing me." "The most recent time, I tried sucking some out of Jenny's cunt after he'd fucked her," Katie said, "and that worked just fine. Both Jenny and I got our fix from that one load. I might eventually want to try fucking Andy once, just to see if I can get my head around it, but I also may never want to do that, and he's okay with it either way. I was worried he was gonna be mad at us for lying to the government, claiming I was bisexual instead of a lesbian, but he wasn't. We got lucky. And so are you. I genuinely feel that way. So be you, ma'am. That's all I can tell you, and you'll do fine." "It's a little shocking, but it's refreshing to see everyone so open and body positive about their sexuality," Jade said. "And you three are all okay with being treated like staff instead of being treated like family?" "We are family," Nicolette said, "but we like being staff. Jenny and Katie are committed to each other, and Andy's cum is just part of their salaries. The same's true for me, but I also especially enjoy being submissive. And speaking of which,” With that, Nicolette brought Whitney forward. She looked much as she had in her pictures, her skin a shade of alabaster, her hair onyx black, her ocean blue eyes looking up at him behind large circular glasses with thick frames. She wore a semi sheer white silk blouse beneath a gray blazer, the deep crimson colors of her bra covering her apple sized tits visible plainly through the fabric. She also wore a black leather skirt, with gray stockings disappearing up beneath it. She was shorter than many of the other girls in the family, halfway between five and six feet tall, if he needed to guess, and slender, not so thin as to look unhealthy, but certainly the thinnest member of his family. (Andy made a mental note to insist that she eat a healthy amount moving forward, and not starve himself for his benefit.) Her lips were painted with lipstick the same shade as her lingerie, a lustrous red the shade of fresh blood, a hue meant to evoke both lust and portents. Nicolette's hand was on Whitney's back, almost gently pushing her in front of Andy. The pale girl had her arms in front of her, her wrists crossed, almost as if she instinctively kept them in that pose, in case they were about to be bound in rope. Her fingernails were painted the same color as her lips. Her black hair was drawn back, pulled tight along her head and drawn into a neat bun, with a single lock of it loose and dangling along the side of her face. Her head was tilted slightly downward, but her eyes were lifted up to focus on his gaze. "This slut is very pleased to meet you, sir, and hopes you will take her to be part of your staff and your property." The look in her eyes was smoldering with more lust than even Piper's had held when she'd nearly blindly raped him when they first met. "She very much wants that." "I, ah, I wouldn't have extended the invitation to you if I didn't want to bring you into the House of Rook." "This slut understands, sir, but there should be a bit of formality and ritual to all of this, rather than simply bringing this slut underneath your house's protective wing with a smile and a handshake." "That's fair, Whitney. So tell me what you want." "This slut wants a bit of ceremony to it, sir. For you to collar her, and then claim her by imprinting her, in front of as many members of the house as possible. In speaking with Nicolette, it was made clear to this slut that you might be a bit nervous about collaring her, but she wants to ensure to you that this is what she wants, what she truly wants." Whitney had a deliberate intensity to her that Andy might have found overwhelming if Nicolette hadn't helped prepare him for it. Thankfully, Nicolette had spent a few minutes each day since the decision was made to invite Whitney helping mentally prepare him for what to expect. "You brought a collar that you'll feel comfortable wearing?" "This slut has, sir." "Well, then. Would you like to wait or would you prefer to do it sooner?" "Sooner, sir," she said, clenching her fingers in and out of fists, as if the waiting was difficult for her. She leaned over to the couch, opening her purse, taking out a collar that was both simple and elegant, a long leather strip with a gold clasp in the front that featured a stylized rook chess piece on the face of it. She held it out to him, and he took it from her with his left hand. "This slut had originally hoped the ritual might take place outside, but the weather has gotten too chilly, so indoors will have to suffice, with your permission, sir." Andy reached down and brought one fingertip along Whitney's cheek, and she turned her cheek to lean into his touch, her skin cool to the touch, and her eyes never once leaving his face. She followed his finger back for just a moment longer than seemed necessary, a soft smile on her face. "So, attendance for this is entirely voluntary, and anyone who doesn't want to attend doesn't have to, but anyone who wants to is completely welcome. Tala, Jade, obviously, if you want to go pick an open bedroom and settle in, that's fine." Tala had a grand belly laugh at that, shaking her head, almost with tears in her eyes. "You couldn't fucking bar me from watching this, baby," she said, putting her arm around Sheridan's shoulder. "I already tossed my suitcase into the room next to Sheridan's so let's get the show on the road already!" Andy looked over to Jade, who smiled at him, shaking her head, adamant to remain in the room. "I'm getting into this family, by hell or highwater, Andy," Jade said to him, "so I definitely want to see if all the things they told us at the Air Force base were true. Well, I guess the whole thing about the first taste of cum making us orgasm is true. Tala just proved that." "God, bitch," Tala laughed, "you have no idea how fucking great that was. I've had a good amount of sex in my life, and that little taste was the best fucking orgasm I've ever had, so if the imprinting one is even stronger,” She shivered with an impish grin on her face. "The waiting is the hardest fucking part." "And I'm not ashamed about sex, Andy," Jade giggled. "I just haven't had it yet. I threw my suitcase into an open bedroom when I first got here. Lauren suggested I do it before you got home. So I agree with my new friend, Tala. Let's go team!" Nicolette made her way over to stand next to Whitney for a second, as Whitney unlocked her cellphone and handed it to Nicolette. "This slut would like her friend to film all of this for her, so she may watch it later, with sir's permission of course," Whitney said to him, as Nicolette stepped back a few paces, holding the iPhone sideways, to get a good wide angle that framed both Whitney and Andy in the same shot. "That's fine," Andy said, tipping his head a little. "Although I'll also want a copy of the video for myself." "Of course, sir." Andy gestured for the women of the family to move and form up around Andy and Whitney, a ring of beauty encircling them, giving the whole thing a bit more sense of ceremony. Then he turned his eyes back to Whitney. "Now strip." "Yes sir." First, she slid off the blazer, moving to fold it over the back of a nearby couch. Next she unbuttoned the white silk shirt that was so sheer, she might as well not have been wearing it at all. After that came the skirt, and when it dropped he could see she was wearing red panties that matched her lacy crimson bra, as well as a red garter belt that clipped onto the stockings. She unclipped them one at a time, rolling them down her legs, setting them with the rest of her clothes, never once turning away from him. When she removed the bra, her tits came into view, small and perky, with tiny pink nipples atop them that were rock hard, She slipped the garter belt off, then pushed her panties downward, crouching as she did, stepping out of them before laying them atop the stack of her clothes. She had a small thick triangle of black curls above her otherwise shaven cunt. Once she was naked, her arms crossed at the wrists in front of her once more. "This slut spoke with her friend, and she told her that you were fine with both shaven and unshaven cunts, so this slut tried to split the difference, but if you prefer something else, you need only speak and it will be done, sir." "Your body is your own domain, Whitney," Andy said. "You should keep your pubic hair how is most comfortable to you and you alone." Whitney frowned for just a moment, then nodded. "Yes sir." Andy knew it wasn't the answer she'd been hoping for, that he would dictate her every move, but Andy wanted to hold firm that she would need to decide a few things for herself. But, to reassure her that those things would be few, he decided to exert a bit of control again. He reached forward and grabbed one of her wrists, pulling her arm away from her body, then pushed it down the front of his jeans, before bringing it back out, making sure there was a streak of precum on her palm, as he'd intended. "Keep that hand out, and don't lick it until I tell you." "Yes sir." "Now get down on your knees." That made her smile again. "Yes sir." She moved down to her knees before him, but kept her head raised the entire time, her back not bending in the slightest, remaining perpendicular to the floor, sitting on her heels. The entire time, she kept her right hand palm up. "Thank you sir." "I'm still a little nervous about this, so I'm going to require you to ask me for what I'm holding in my hand here," he said, shaking the collar in her direction. "Yes sir," she answered. "This slut,” "No." The sudden interruption caught her off guard and she seemed confused, so he elaborated. "For this, in this moment where you are choosing to surrender everything to me, I want to hear it directly from you. None of this third person language. That's a passive way of doing it. If you want to return to that afterwards, that's fine, but for here, this singular moment, you have to be you. Either you want this, or you don't. And if you can't say it, out loud, to me, I'm not going to believe that you truly want it. You have to convince me. Try again." Whitney smiled a little bit more now in understanding, nodding once. "This,” she started before catching herself and beginning one final time. "I want you to collar me, sir. I want you to claim me, to put that leather around my neck, to make me your possession, a member of your household, but more importantly, a person that you own, that you have total dominance over, to exert whenever and where ever you want to. I, Whitney Ophelia Wells, want you, Andrew Rook, to give me a collar, your collar, that I can proudly wear, so that anyone who sees me knows that I am your property, by choice, and that knowing what I truly am is exposed to the world at all times brings me the greatest joy anyone could ever imagine. By placing the collar around my neck, you will take control of my body, mind and soul, and they will always be yours, to do with what you please, and that is what I want most in this world. So please, sir, fulfill my greatest wishes and desires. I want you to collar me, and make me your slut. Will you bestow upon me that most holy of honors? Sir?" "When this latch clicks, Whitney," he said, lifting the leather collar, bringing it towards her neck, "I want you to lick your hand, so the moment is seared into your brain." "Yes sir." He'd given this a bunch of thought over the last few days, and Nicolette had made it clear to him that he should try and imbue this moment with as much ritual and ceremony as he could, to make it feel like something that had been done throughout the ages, that there was a history to it, even if he was simply making it all up off the top of his head. He'd prepared a few things, in his mind, and he hoped they would be enough. As he began to slide the leather against her skin, seeing the tiny shiver of excitement from her body, he began to speak, trying to keep his voice steady and calm, as if he wasn't as nervous about all of this as Whitney seemed to be. "With this collar, I, Andrew Rook, hereby claim and take possession of you, Whitney Ophelia Wells, and bring you into the House of Rook, where you will serve the family as our technical expert first and foremost, but also as my personal plaything. You surrender your mind, your body, your will and your soul to this family, and to me, as its head. This is what you have chosen, what you have asked of me, and now, I have granted it to you. I claim you. I own you. You belong to me. You are,” He waited until he had the latch mechanism figured out and said the last word in time with his hooking of the latch. "Mine." Once the final word left his lips, she immediately brought her palm to her lips and licked the spot of precum clean. Her entire body tried to hold perfectly still after her tongue touched the liquid, but Andy could still see those blue eyes roll back into her skull in sudden shock and brainfry. Her eyelids fluttered frantically, but other than that, she held perfectly still and made no noise at all, despite the overwhelming rush of pleasure that was tearing through her body. All the women gathered around them closed in a step or two, as if tightening the circle in some long forgotten ritual. Andy hadn't asked them to do that, so he figured they were simply getting as caught up in the moment as he was. He didn't want to interrupt her moment, so he waited until she seemed to have regained her composure, her deep blue eyes opening to look at him once more, now in much more exposed adoration. "Your slut thanks You, Master." Andy had to prevent his smile from growing too wide, as he still had a part to play, but he immediately noted the change in her language. No longer 'this slut,' but 'your slut.' No longer 'sir,' but 'Master.' Before, he had simply been a respected man standing before her. Now, he had claimed her and given her Purpose. "She would very much like to be imprinted now, Master, if that is to Your pleasure." "I believe that seems appropriate," he said, and the gathered girls giggled a little at that. "Nicolette, I want you to sit down on the couch here. Whitney, you are going to stand up, keep your legs straight, bend at the waist, and place your hands on Nicolette's shoulders, so she can film your face the entire time while you're being imprinted." "Yes, Master. Thank You, Master." Whitney rose to her feet, then spun around, which was the moment Andy saw it, and everything nearly fell apart for a split second. There, on the small of her back, was a fresh tattoo, clearly less than a day or two old, as the skin around it was still reddish and angry, and the colors were still that insanely brilliant tone that only the newest of tattoos had. When the first Druid Gunslinger book had been nearing publication, the publisher had suggested Andy mak

This week on the RTC Weekly Download: "Have Gun, Will Travel" and "Frontier Gentleman"   

A pandemic survivor accidentally forms a harem.Based on a post by CorruptingPower, in 25 parts. Listen to the Podcast at Explicit Novels.Chapter 1Around day eighteen of the quarantine, Andy was starting to lose his damn mind. The governor of California had gotten on the television and announced that everyone who wasn't essential was under house arrest, essentially. Sure, the grocery stores were open, but restaurants were only doing delivery, and every bar in town was closed. The most time he'd spent outdoors in the last week had been walking out to the mailbox cluster for the complex down at the end of the street.Despite the fact that both of them had decent paying jobs “ Eric as a software engineer and Andy as a marketing writer “ neither could afford an entire place to themselves, so Andy paid rent to Eric, who owned the condo (or at least was paying it down).Andy also had a side hustle as a novelist, and was getting frustrated as hell that the quarantine was keeping him in place meant that his newest book was being pushed back. There was a warehouse full of fifty thousand copies of his next novel, and they were all just sitting there."They'll come out eventually," his agent had told him, but the whole thing felt very much like a death sentence to his literary ambitions. Andy even had a box of copies sitting on their kitchen table, along with a movie poster styled promotional in a frame."Did you get the mail today?" Andy asked his roommate."Nah," Eric said. "Didn't see the point.""Fair enough."Wham wham wham."You order food?""Nope. You?"A voice came from outside their front door. "CDC. Open the door, please."Eric moved to the door and peered through the peephole. On the other side, he saw a man in a biohazard suit, covered completely from head to toe. He raised one covered hand and waved. "I'm perfectly safe, as you can see. We're going door to door and testing people for the virus."Eric looked back at his roommate and shrugged. Andy grabbed his two cats, scooping one up in each arm as Eric opened the door. It was like something out of The Andromeda Strain, seeing the man in the yellow hazmat outside, a small box in one hand. "CDC?""Yeah. I'm Dave. Invite me in?"Andy shrugged and Eric laughed. "Sure, c'mon in. We just need to close the door behind you so the cats don't get out.""Sure sure, I get that. I'm here to test if you guys are clear. Is there some place I can set up?""Go ahead and use the kitchen. You want us together or one at a time?""The test only takes fifteen minutes and I can run up to four of them at a time, so come on. I can run you both." He lugged the kit with a world weariness, as if he'd been doing this thirty times a day since the lockdown had started. "Paperwork says you've got two guys living here “ Eric Yang and Andrew Rook. That you two?""That's us.""Nobody else in the condo?""Nope. Nobody else.""Cool," Dave said as he set the kit down on the kitchen table. He glanced up at the movie poster promotional on the wall above the kitchen table. "Oh hey, you guys are fan of the Druid Gunslinger books too? I fucking love those things."Eric laughed a little bit, sitting down in one of the kitchen chairs, rolling up his sleeve. "I mean, you could say that, I guess. He writes'em.""What? No, they're written by some guy named Blake Conrad." He glanced at Eric and grinned. "I don't need blood, man. Here, just rub this swab on the inside of your cheek for a bit."Andy smiled a bit sheepishly, putting the cats down. "Yeah, that's me. It's a pen name.""Why the hell would you want a pen name when you've got an awesome last name like Rook?""I'm friends with Arthur McStevenson. You know, the guy who writes all those thrillers you see on sale in the airports? Anyway, he told me that he wished he'd have taken a pen name before he got started, so people just couldn't look him up and track him down at home."Dave took the cotton swap that Eric handed him and put it into one of the four slots on the little machine he carried with him. "Oh hey, I'm sorry man. I don't want to bother you about it.""Nah, you didn't come tap on my window in the middle of the night or anything. What do I care?" Andy waved his hand before taking a cotton swab from him, rubbing it along the inside of his cheek, and then handed it back to the man in the bio suit."While this is running, I just gotta ask you guys a few other questions. Do you guys each have a twin bed?"Eric rolled his eyes. "Are you kidding me? Ask him about his bed. Just ask him."Andy crossed his arms over his chest, as if this was a discussion they'd had a number of times. "Eric's got a queen sized bed and I've got a California king sized bed. Even though I've got the smaller bedroom. But what can I say? When I got out of college, I bought a big ass bed, so I'd always be comfortable, and never wanted to give it up.""Why do you ask?""They're starting to force people to house additional people in their places, so we can keep the uncontaminated together, at least for a while.""What?" Eric said, his face scowling. "There's no way that's legal.""It's temporary, and we're doing everything we can to make sure people are at least okay with it. At this point, we're just doing what we can to get people through it. But the death toll is starting to stack up. I mean, have you seen the footage coming out of New York City?"Andy nodded. "Trailer trucks stacked full with body bags. It's terrifying.""Besides, it's not all that bad. The virus seems to be targeting men a lot more than women, so guys are scoring with women way out of their league. And the women seem to be a little friskier once they've developed an immunity to the virus. I'm sure you'll see eventually."Andy arched an eyebrow in the man's direction. "That sounds ominous."The man in the biohazard suit waved a hand dismissively in their direction. "Not at all. Just relax and enjoy the ride. That's all I should say about it. So when's the next Druid Gunslinger book coming out? It's really soon, isn't it?"Andy stepped over to the fridge, opening it to take out a can of soda, using the fridge to hide his sigh, although he wasn't entirely successful. "It was supposed to be out in three weeks, but because of the virus, the publisher's pushing it back to the fall. I mean, I understand. I get a lot of additional sales off of in store appearances and whatnot. I get it. And I'm already working on writing the next one. But it's always rough having a book release pushed back.""Man, that sucks. I was really looking forward to reading it during my downtime when they're driving us between locations.""Y'know what, you're a fan, so let me do you a favor. I better not see this show up on eBay or the internet though, otherwise I'm gonna know who it was." Andy moved over to the box on the kitchen and opened the top of it, taking one of the books out. "They call these advance reader copies. They send me a few boxes of them so I can sell them at appearances or give them away to friends and such. I haven't even sent my family copies yet. I think the only other person than my agent and my editor who's read the book is Eric here."Eric nodded. "It's not as good as 'Have Totem, Will Travel' but it's one of the better books in the series, I thought. Way better than 'The Trouble With Werebears,' but then again, that's not hard.""Everyone's a critic," Andy said, grabbing a pen from near the box. "Fair, though. I had to bang that one out in five weeks because the publisher just wanted to cram another one onto store shelves while it was hot. I wasn't satisfied with it either, but it still sold okay. You said your name was Dave, right?""Yeah," Dave answered.Andy opened the front cover of the hardback ARC and wrote in the front of it, "For Dave, Jake thinks you're one of the real heroes. Yours, Blake Conrad." He blew over the ink for a second, making sure it was dry, before closing it up and offering it to Dave. "There you go. Autographed, personalized copy months in advance of when you can get it in stores.""That's awesome, man!" Dave said, genuine enthusiasm in his voice. The machine on the table beeped, a cheerful tri tone medley. "You guys are both 100% virus clear. And let me pay you back for this," he said, patting the book on the table next to him. He flipped a little toggle switch on the machine and then pushed the large green button on the side. A small little printout scrolled out of the machine. He tore it off and then pushed the green button again. "Okay, this one is for you," he said, holding out the receipt to Eric. "And this one is for you, Mr. Conrad," he said with a laugh, holding out the second slip to Andy. "You need to go onto the website today and fill out the questionnaire. I know it's going to seem weird, but just answer the questions honestly and openly, and go through the whole thing. You'll be very glad you did later, okay?""What's it for?""It'll help you be happy with your pair ups when we bring them by in a few days. You know that giant condo complex a mile or two over?""What, the 30 story skyscraper?""Yeah. That's being converted into a triage hospital, so all the tenants are being evicted. Lots of people who are going to be relocated. There's a range of five possible questionnaires that uninfected men can get, and it's at the test giver's discretion. Most people, we just give them level one or two questionnaires.""What did you give us?""Welcome to level 5, fellas. It's mostly reserved for medical professionals and high rollers, but it's my discretion, and this little baby's going to keep me from losing my mind for the next few weeks, so I gotta make sure we're square," he said while patting the book. "This should more than even us out.""It makes that much of a difference?"Dave smiled like a Cheshire cat beneath his biohazard helmet and nodded. "You'll see. Just trust me on this. Go fill it out right away, though! They'll probably have someone here tomorrow or the day after, and you want to be ready." The scientist picked up the book in one hand and his testing kit in the other. "And with that, I'm off! I won't be able to get started on this tonight, but I'll see if I can swing by on one of the drop offs and let you know what I think of it.""Hey, it's always nice to meet a fan," Andy said. He moved to scoop up the two cats into his arms again before he and Eric walked him to the door.Dave shuffled toward the door, as Eric opened it for him. "Remember guys, the questionnaire is completely confidential and no one's going to judge you on any of it, so be completely honest. Got it? Completely. Honest.""With all the hyping you've been doing, I can't wait to see this questionnaire," Andy laughed. "Go on, go! You've got more people to be saving, I'm sure.""Take care, fellas!" Dave said.Eric closed the door on him, then flipped the lock, and then the deadbolt before putting the chain on. He liked to make sure it was secure. "So I suppose we both better go take this thing, huh?" he said to Andy, who was putting down the cats again."Guess so."Eric's desk was in the living room, while Andy's was part of the adjacent dining room. They'd been known to politely yell at one another from their desks. Andy typed in the website on the slip and hit return. A rather bland looking government website popped up. There Andy entered his name, his address, his social security number and address."He wasn't kidding when he said this quiz was unorthodox," Eric called over to him, clearly ahead of him in the process. "These are not the kind of questions I expect a government website to be asking me.""Oh yeah? I can't wait to find out." Andy typed in the personalization code at the bottom of the slip. It was a long series of characters, a mix of numbers and letters, both capital and lower case, with a variety of special characters mixed in “ 25 characters in all. Andy had to enter the series twice because the first time he hadn't realized it was case sensitive and the site had rejected it.The first question immediately surprised him. "Are you attracted to: Women, Men, Both?" It wasn't at all what he expected, but he checked "women" and the site moved onward. There was a small button marked back, in case he made errors, obviously.The next page asked him what ages of women he was attracted to. There were two little slider bars, with the low end going as far down at 18 and the high end going up to 70+. Andy was nearly 40, but the words of Dave rang through his head. "Be honest." Andy shrugged, leaving the low end set to 18 and brought the high end to 35.He was a more than a little caught off guard by the next question. "Would you consider yourself: Monogamous, polyamorous, no preference?" He had to think about it for a long moment, but eventually clicked "no preference." If he was truly honest with himself, if he found himself with a girlfriend who had another girlfriend, he wouldn't have been bothered by it.For the next twenty minutes, Andy continued to work through the website, filling in all the options about what he was and wasn't attracted to. Height, weight, race, hair color, hair length, eye color, nationality, education, physique, the questions went on and on and on. After he went through any given category, he was then given a follow up page to rank all of the things from most attracted to at the top down to least attracted to at the bottom.Towards the back half, he started to understand what Eric had found so surprising. The quiz had a page with a seemingly limitless collections of fetishes and kinks. At the top was the message "Click all that apply." Following that, all of the things Andy had clicked on were in another list he was expected to order.When he had to order all of his turn ons, he became more than a little aware how at odds with each other some of them were. In fact, he had aggressive women and submissive women next to one another in the ordered list. He wondered what the algorithm would make of that.The last page was the same fetish and kinks list presented again with a different message at the top. "Click all those that are hard turn offs for you. Be thorough." It was this page that Andy found himself clicking a lot of buttons.He also had to look up a handful of the terms that did not include clarification. He was sure there were people out there who liked pissing on each other, but he certainly wasn't one of those. He also had to make sure to reject women who were allergic to cats. He wondered if all this information was just going to ensure no one showed up.All in all, the whole thing felt a little like a thing he'd taken in college called the Purity Test, a thousand question party game where people who had been drinking would compare sexual histories.The final page was all the information he'd entered presented in an ordered list, with a message in large friendly red letters at the top. "Review all the information below for accuracy! Once you hit submit, you cannot revise this information!"After a final pass to make sure he hadn't marked anything incorrectly, he hit submit. The screen went blank for a second before a confirmation message popped up. "A copy of this has been mailed to the email address you provided. Thank you for helping us keep California safe!"Andy closed the web browser and rose up from his seat, heading over to talk to his roommate. "Okay, yeah, that was definitely weird.""What did you say to the polyamory question?" Eric asked him."I put no preference.""Really? Man, I couldn't click the monogamous button fast enough. Last thing I want is a girlfriend who's shacking up with another guy."Andy smirked. "What if she was shacking up with another girl?""Ah shit, I didn't even think of that."He shrugged at Eric with a wry smile. "Like it's going to make any fucking difference anyway. I'm sure the whole thing is just an optimistic pipe dream. When was the last time our government brought any real change with a website?""Heh. Guess we'll see.""Yep, suppose so."And that was the last they talked about it for the rest of the day. But it certainly wouldn't be the last time they talked about it.Chapter 2It was a little past noon the next day when there came a knock at the door. "Open up! CDC!" the voice on the other side shouted at them. "Delivery and I don't have time to fuck about so let's go."Andy was in the living room working on his laptop, and glanced over at Eric, who was hip deep in a conference call. "Don't worry, I got it. They probably just forgot some questions yesterday or something." Eric waved his hand as Andy set his laptop aside, carrying on with his conversation with his coworkers.Andy rose from the couch and made his way over to the front door, opening it without thinking to look through the peephole. The cats were both upstairs asleep, so he didn't worry about them. When he opened the door, there were three people outside of it, not the one he'd expected. The person in the middle looked a lot like Dave had, except for the face. The man inside this biohazard suit was a black man in his late forties. He looked a lot less jovial than Dave had.To the left and right of the man in the biohazard suit was a woman covered from head to toe. From the clothing, it was almost impossible to make out any details other than the woman to the left of him was short and the woman to the right was tall. Both of them wore hoodies with the hoods pulled up. They wore ski visors over their eyes and scarves over their noses and mouths. Both wore long sweatpants and had those fuzzy lined boots he'd never thought were fashionable. He couldn't see an inch of skin from either. Each of them had a small roller suitcase with them, the kind of travel bag someone takes for a holiday no longer than a week. They also each had a large bag under their arm, an oversized purse maybe, or a laptop bag. The whole appearance was almost like Berkas by Gucci."You Eric or Andy?" the man in the gear asked him."Andy.""Copy," the man said, tapping at his little pad with a stylus that dangled from it. He let the stylus drop and then opened a pouch on the outside of his suit, upholstering a bottle of Lysol. He sprayed the surface of the tablet for a few seconds then held it out to Andy. "Just use your finger to sign on the line. Any day now. I've got another seven deliveries to make today, and people are on the bus waiting so let's go."Andy lifted a finger up and signed an approximation of his name on the tablet's surface. "So how long is this for? That these people are staying with us?""Which room is Eric's and which room is Andy's?" the shorter of the two women asked."Upstairs and turn right for Eric's room and left for my, uh, Andy's room," he said, as the two women immediately brushed past him and ran upstairs. "How long?""The fuck should I know, pal? I just deliver them." He took the tablet back from Andy and glanced down at it. "Anyway, that's it for this batch. I'll see you again in a few days, maybe a week or so, with the next one.""The next one?" Andy asked, but the man had already turned and started walking back to a school bus that was idling in the street. "What do you mean the next one?" But the man had already moved on, and either didn't hear Andy or didn't care. Andy suspected it was the latter. Behind him, up the stairs, he heard both his and Eric's bedroom doors shut.He closed the door and locked it, then turned the padlock and put the chain back on. Andy looked over his shoulder, then glanced and Eric, who shrugged. He moved upstairs and knocked on his own bedroom door. "Uh, hello?""Five minutes please!" a voice on the other side of the door said to him.Andy sighed, turned around and walked downstairs. His roommate looked over at him, having just wrapped up his conference call. "She wants five minutes."Eric laughed. "We've been kicked out of our own rooms. Great."Andy moved back over to the couch and picked up his laptop, sitting back down and starting to write again. He was curious, though. Insanely curious about what was happening in his own room. Neither of the cats were complaining so he imagined it couldn't be too bad. His roommate had wrapped up his conference call, but had clearly turned on his music, because Andy could hear the tiny noise flare ups, even though Eric was just wearing earbuds. He did love his death metal loud.He spent a while trying to work but trying to focus felt damn near impossible. He popped into his company's Slack channel, to let them know what was going on.“your partner showed up?” his boss typed. “take the rest of the week off. you're going to be busy“They said they're going to be back later with another delivery. What the hell does that mean?” Andy typed into the channel.“oh shit” his boss typed back. “how big is your bed? queen sized?”“King sized.” Andy replied. “California king, actually. Don't know what difference that makes though. The news said one partner per person.”“u have a king bed tho” his boss replied. “did the site ask u the polyamory question?”“Yeah” Andy typed. “I put no preference”“shit” came the reply. “okay take off the rest of the week and let me know when you get another partner and we can do the same again as many times as you get partners”“Wait. What? How many partners can they give me?”“depends on what level the tester gave you”“He said level 5. He was a fan of my novels so I gave him a signed copy of the new one”“Oh, shit” his boss answered. “then u can be assigned up to 4 partners with Cali king bed”“Now you're just fucking with me” Andy sent back with a laugh.“noshit my dude” his boss answered. “ok we play it by ear then but dont check out any new tasks until monday, k?”“Am I still getting paid for the time?”“new partner adaptation time dude its all covered”“Okay then, I guess.”“level 5, L O L, u fucking suck” his boss typed. “u dont deserve that level of woman”“Wait. What do you mean?”“LOL u didn't read how the levels system work fuck u go enjoy winning the lottery”And with that, his boss set Andy's status to Out Of Office.From upstairs he heard both pairs of doors open, although he didn't think either of them opened fully. "I'm going to take a shower if that's okay with Eric," a voice called down."He's in the zone working, so that should be fine," Andy called up."Thank you!" And then Eric's bedroom door closed again."Okay Andy, come on up," a different voice said. "But close the bedroom door behind you, okay?" And then his own bedroom door shut.His work day was done. He found himself a little nervous at the idea of going into his own room, but he realized waiting wasn't going to make it any easier. Time to face the music. He pushed his laptop back into his laptop bag, zipped it up and set it on the coffee table.Andy walked up the stairs and came to his bedroom door. It was odd, staring at this side of his bedroom door. He knocked on the door, and a soft giggle came from the other side. "You don't need to knock, silly. It's your room. Come on in."He wasn't entirely sure what he expected to find behind the door. But he did as he was told to do, opening the door, stepping in and closing the door behind him.Sitting on his bed was a lovely redheaded woman in her mid to late twenties. He suspected the coppery color of her hair was natural as he could see a generous dusting of freckles on her cheeks and arms. She had it done up in a sporty ponytail that hung down to the small of her back. Instead of all the layers he'd seen her in just a few minutes ago, she was dressed now in simply a sports bra, a pair of booty shorts and a pair of thigh high leather boots. She had her hands behind her on the bed to thrust her perky tits up in his direction. She was fit, pale, strikingly beautiful, and had a playful smile on her face."Hallo Andy," she said, an Irish tinge to her voice. "My name's Aisling. It's pronounced Ashling, but spelled A i s l i n g. I'm from Dublin, but after I finished uni, I got a job out here working as a graphic designer. I'm your new partner. I hope I'm to your liking.""Oh!" Andy said, as if the whole situation was just dawning on him. "Oh, I'm "Aisling couldn't contain herself any longer and sat up and rushed him, throwing her arms around, clinging to him firmly. "We can touch," she moaned into his ear. "Touch! It's been so fucking long since I touched anybody. And I'm going to touch the fuck out of you nonstop, you beautiful bastard."He was slightly taken aback at how tightly she was holding him. "I mean, you don't have to ""I don't have to do any fucking thing I don't want to," she whispered into his ear. "But it is taking every bit of willpower I have not to drop to my fucking knees and rip those pants right off you. Because that's what I desperately want to do right now."Andy could feel her nipples pressed firmly against his chest through the sports bra, and her breath was hot against his skin. "Wah, why?""We've been in isolation for months," Aisling said as her hand grabbed onto his ass through his jeans. "They gave us injections to help us build our immune system against the virus, but they said it was going to stoke our libidos a bit. God, wasn't that a fucking understatement." She nibbled on his earlobe for a moment. "They showed me twenty pictures of men with a bit of description beneath each of them on what they wanted and didn't want, and I picked you."His hand moved along the small of her back, trying to keep it from going anywhere inappropriate, but she reached behind herself to grab his arm by the wrist and push his hand down onto her ass, which invoked another moan from her. "Why did you pick me?""You like gingers, which I am obviously. I'll be sure to show you it's natural in just a smidge," she said with a smile. "But you like both submissive and aggressive women, and I can be both. You're open to polyamory. I like both men and women, and I know that polyamorous men with large beds get multiple partners, so that's something to look forward to. I consider myself a switch, so I'm looking forward to having another girl to play with, one I can order around a bit." Andy started to try and pull his hand upward a bit, and she rubbed her hips forward a bit more insistently. "If you're lifting that hand up, it'd better be to slip it under my shorts onto my bare ass.""Is, is that what you want?""For an appetizer," she purred. "But you know what made me want you most of all?"Andy lifted his hand just to the top of her booty shorts, hesitating for just a second before he slid his fingertips beneath the hem of them. He realized he must've been hesitating a bit too long, because she reached back and pushed his hand down firmly until he had a full handful of toned butt in his grasp. "What's that?""Out of that long, long list of sexual turn ons and offs, the thing you put that turned you on the most, was dirty talk," she practically moaned at him. "I fucking love dirty talk. I am an absolutely filthy little slut. No," she giggled, licking her tongue along the shell of his ear, "I'm your filthy little slut now. I am going to beg you to fuck me stupid over and over again. I can't wait to suck on that cock of yours, to make you fuck my face until there are tears rolling down my eyes and I can't breathe. God, that makes my little cunt clench. It's tight, too. I've only fucked two guys before, and each of them only a couple of times. But you are going to fucking plow that gash of mine so much I may have to etch your name into it. You are going to fuck your little whore so much that you fall asleep inside of my cunt more often than not, and wake up to me sucking your cock clean to get you ready for another round." She turned around in his arms, which made his hand slide up to her stomach, her head leaning against his shoulder. "Here," she said, taking his hand on her belly, pushing it down the front of her shorts. "Feel just how sopping wet a bitch you own now, sir. Should be it sir? Master?" She giggled a little, wiggling her eyebrows. "Daddy?"Andy stuttered for a second, as his fingertips pushed through a small strip of hair before reaching the most drenched snatch he'd ever felt. "Fuck, you are soaked,”"Umm," she said with a nod. "So I'll just use all three then.""Not,” Andy sputtered, "not in front of my roommate.""The other guy? Oh, he's going to be more than a little distracted. I talked with Lily a little bit on the way over here “ Lily's the girl waiting for him in his room “ and she's more worked up than I am. And your roommate likes them to be a little dominant with him, so I don't think he'll have time to say anything, but if it makes you feel better, sir, I'll just call you Andy when we're out in the common areas. Or honey or baby. Something innocuous. As long as you're going to hold up your end of our deal.""My end?" Andy said, as he pushed a fingertip inside of Aisling's drenched cunt, feeling her clench down on it as she shivered slightly."You owe me one load of spunk every fucking day," she said, grabbing his other hand to push it up and under her sports bra to cup her tit, feeling how hard her nipple was against his palm. "I don't give a shite where you put it “ on my face, down my throat, across my tits, up my cunt, you can even stuff it up my virgin asshole, something I can't wait to feel the first time “ but you don't fall asleep at night without making sure I got my daily dose of your jizz. Think you can live up to that?""God, I hope so," he said, lifting her bra up to her collarbone, as her hands moved to pull it up and over her head, tossing it aside. "You really want that?"Aisling giggled again, a sound that sent shivers up Andy's spine every time. "I honestly can't wait to get started, Master. I want you to fuck me so bad, I can feel it trickling down my thighs. You've got yourself a needy little slut on your hands. How do you want our first time to be?"Andy's hand slid up from her shorts and brought his fingertips to his lips, licking them clean, seeing her nuzzling her face against his neck, so he offered his pointer finger to her, which she wrapped her lips around and suckled hard on before letting it pop from her mouth. "You were going to prove to me you were ginger, weren't you?""Hmm, I'm sure you can see the freckles all over my tits," she said, crossing her arms at the wrists in front of her to push them together and up towards his eyes. "But you want to be sure you've got an honest slut on your hands, hmm? Boots off or on, you think?""The boots are dead sexy, but let's have them off.""You like them though, yeah?" she asked as she put one foot up on his bed, and started unzipping one of the boots."Oh yes, they're fantastic. A lot of forethought in thinking to bring them.""We were allowed to made a list of things to get packed up for us, so I've got all sorts of little surprises in my wheelie bag, but I'll tell you one, I've got a plaid skirt in there, back from my days at Mercy College. Every man around the world loves a schoolgirl." She pulled her other boot off and set it on the floor next to its companion. Then she unbuttoned the front button of her jean shorts, unzipping them before bending forward over the corner of Andy's bed. She pushed the shorts slowly over the curve of her ass and down her thighs before stepping out of them, leaving her in a tiny silky red thong. "Like the view?""God you're fit. I feel like a bit of fat man in your presence, I'm afraid.""Don't you worry, lad," she purred. "You and I are going to be doing a lot of exercise." She slid on her belly further onto the bed and then rolled onto her back. "I'll fuck you back thin, daddy." Aisling pulled her thighs back to her chest, reached down and drew her thong up along her legs. As soon as she lifted the fabric upward, Andy got his first view of her cunt, and she was glistening. With her ankles to the side of her head, she drew the thong off and tossed it to the side before spreading her legs wide. True to her word, there was a neat shaved triangle of copper curls just above her snatch. "See? Ginge minge. Now what're you gonna do about it?""Aren't you sweet as candy?" Andy slowly crawled onto the bed next to her. He didn't have shoes to kick off “ he'd barely put them on since the lockdown began. "You're down for anything?"Aisling rolled onto her side. "You want the first time to be something particular? How sweet. What did you have in mind?""Something simple. So you can show me what you like. You on top. That okay?" Andy said as he pulled his shirt up and over his head.She giggled a little bit, reaching a fingertip over to brush it along his chest. "Tattoos? You're full of surprises. I wouldn't have pegged you as a man with ink." Andy had a tattoo of a griffon starting on his right pectoral going down to his stomach, done in an elaborate and detailed style. It had been the better part of two days worth of work ten years ago. "I like the look of it, though. And if you want our first time to be me riding you, I say giddyup partner. Any other surprises down here I should be looking forward to?" Her fingertip moved to smooth down over the swell of his cock through his jeans."You can have a looksee for yourself after you do one more thing," Andy said, with a little laugh."Tell me what it is, so I can see the thing that's going to change my life." She was rubbing the palm of her hand firmly against that buldge now, her eyes looking down at her hand before bringing those green eyes up to meet his gaze, a girlish smile on her lips. "Stop teasing and tell me.""I've never shown my cock to girl I haven't kissed before," he said with a wry smile. "I don't intend to stay"Andy didn't even finish getting the sentence before Aisling had crawled all over him, pressing her lips to his. The kiss was intense, more intense than he'd ever remembered before. It came on strong and kept getting stronger, her lips parting after several seconds to let her tongue slip into his mouth and spiral around in a hungry dance. After a few minutes of making out like a couple of teenagers, she pulled back just an inch or so. "God, I hadn't realized how much I missed kissing someone. You're a great kisser." She pressed her lips against his once more and this time didn't wait to push her tongue in. After a few more minutes, she pulled back again. "That what you wanted?"He laughed softly. "You really want to see it, don't you?""See it, touch it, taste it, fuck it. I want to do everything you can think of with that cock, and once we're done with all of that, we can do it all over again." Her fingertips plucked at the button of his jeans, popping them undone. "Can I see it now, daddy?""I'm no porn star, Aisling, so I wouldn't get your hopes up," he said. "But yes, you can see it." He felt her drawing down his zipper and lifted his hips up so she could tug his jeans down and off, but she made a point of grabbing his boxers with them. "See? Not any longer than the average man.""Jaysus," she said quietly, "maybe not any longer, but certainly thicker. A lot thicker. That is a great big fat ol' cock you got there, Master." Her voice was one continuous purr as her slender fingers wrapped around the base of his cock and started to slowly stroke it. "Thicker than any cock I've ever had inside of me. Can I?""Hop aboard." The whole thing felt vaguely dreamlike. He wasn't sure she was real, wasn't sure any of this was real. He half expected to wake up and for everything to disappear at any moment. But that didn't happen."Gladly," she said, as she straddled one leg over his hips. She snaked a hand between them to grab the base of his cock, angling it properly, setting the tip against wet snatch before sinking down onto it with one continuous motion. As soon as her hips touched down against his, his cock bottoming out inside of her cunt, he felt her entire body slump forward atop him in a colossal shiver, her cunt spasming and clenching on his shaft. A tiny moan burbled from her lips, one that bubbled over into a breathy laugh against his neck, desperate and delirious. "Fer fuck sake. I've never cum that hard in my entire fucking life, and you just put the fucking thing inside of me. Nothing more. Just from putting him in.""Do you want to stop?""Are you out of your fucking mind?" she giggled, placing both of her hands on Andy's chest. "I haven't gotten my daily nut yet, daddy. And your girl wants what's coming to her. And by hook or by crook, she will fucking having it." Her arms pressed together to push her tits out even more, as she started to snake her hips backwards only to thrust them forward again. "It's been two years since I got properly fucked last. How long's it been for you?""You'll only laugh at me," Andy said with a slight frown."I promise I won't," she purred. "Has it been longer?""A lot longer.""How long?""Over a decade."She leaned down and kissed him again, this time a bit more softly and tenderly. "Well, you're never going to go a day in your life without fucking ever again, so it'll be alright." She had a magical way of swaying atop of him, shimmying back and forth on his cock. Her body ground down onto him over and over, sweat glistening off her freckled pale skin.His hands latched onto her hips, trying mostly to hold on. His fingertips clenched onto her smooth skin, pressing her down a little more than she'd been trying to push onto his cock, as if he felt like he wanted to contribute something to her effort."C'mon. Make me your girl, claim your whore, daddy," she whimpered, her face looming over his. "I wanna feel it. Gimme that cum. Own me. Own me. Cum in her tight little cunt. Paint it. Take it. Fucking own me, Master. Own. Me."Just outside of his room, he heard Eric's door open and then slam shut again, but it was only a momentary distraction, as Aisling continued to bear down on him, her ass slamming against the top of his thighs.It wasn't long before he could feel that release building up on him, and much sooner than he'd have liked, his body was shuddering in the throes of an orgasm as he started to spew hot cum inside of her tight young twat. As soon as he started to orgasm, however, it was almost like Aisling had been struck by lightning, her whole body violently shaking as a guttural sound was wrenched from her throat, primal and whorish, before her body collapsed on top of him, her body trembling for a long moment before she lay still atop of him.After a few minutes, he slowly moved her to one side of him so he could slip out from under her. She was completely unconscious, and he was almost certain he could her hear whispering nigh imperceptibly the word 'imprinting' over and over again.He didn't want to wake her, so he went and showered, then headed downstairs to grab himself a bit of dinner. The two cats sat at the foot of his bed, peering at the unconscious redhead in his bed, wondering what the hell was going on.The madness had barely even gotten started.Chapter 3When Andy woke up the next morning, he was almost certain he'd been dreaming yesterday. But he felt an odd sensation and lifted his head to look down. There he saw Aisling's coppery ponytail bouncing over his crotch. And he could feel her lips sealed around his cock, as she continued to face fuck herself on his shaft.Andy had never woken up to being blown before, and it certainly was a delightful experience. He tried to pull her head up, to give her a break, but she reached up and pressed his hand away with her own, a delightful little giggle rolling from her lips onto his cock.He thrust his hips towards her face because it seemed like the thing she wanted him to do, and sure enough, she kept pushing her head down again and again. She wasn't letting up until she got what she needed.In the end, resistance was futile.His body tensed up and his back arched as he felt her lips around the base of his cock, the head lodged in her throat as he started to spew cum. When he did, he could feel her body shake and quiver against his thigh.A few minutes later, both of them had regained their composure, and she'd snuggled up alongside him, her face nestled in the crook of his neck as she laughed almost deliriously. "It's actually true. The taste of your cum gives me an orgasm. Each and every time, harder than I'd ever known before I met you," she purred. "You really do fuckin' own me, daddy.""You say that," Andy said, "but eventually you'll get bored of me, and you'll come to resent me, resent being attached to me like this."She rolled over a little bit, pressing one of her arms against his chest as she shook her head, a crooked smile on her lips. "I woke up in the middle of the night and looked around the room while you were asleep. There are bookcases everywhere. My first boyfriend was a footie player who dreamed of going pro when he could barely get up in the morning. My second boyfriend? He was a shitty musician who claimed he was being artful when he couldn't carry a tune. You're surrounded by books. Have you read all of them?"Andy shrugged a little. "Maybe half of them. But I like having books around, knowing that when I'm ready for another, it's right there.""See?" she giggled. "I've never been with anyone so smart before. And I've never been with someone who'll let me be myself and not force me to hide it.""Hide what?""What an absolute slut I am," she said, kissing his neck. "Your absolute slut, if I'm honest." She wasn't trying to wind him up, just more of delighting in learning all the nooks and crannies of his body. "And I don't have to pretend I'm a good Catholic girl who'd never let a boy put his hand up her skirt when I'd rather be bent over getting my tight young gash plowed. You'll have to do that next, have me on my hands and knees, your good little proper bitch."Andy laughed. "You sound rather eager for that."" Umm," she mumbled, nibbling on his ear, "you want me to beg again?""Let me do it later," he said. "We should get up, shower, and we should meet our new roommates.""I talked to Lily a bit on the ride over. I'll tell you about it in the shower."Each of the bedrooms in the condo had an attached bathroom so they didn't even have to get dressed to get up and move to the bathroom. She scooted ahead of him quickly, and he could see the inside of her thighs were damp as she climbed out of the bed and moved into the bathroom.It was the first time he'd had a woman in his bathroom in a decade, and so he was a little embarrassed about the state of it. "Of course you don't have a hair dryer," Aisling giggled, as she ran her fingertips over Andy's shaved head. He'd started developing a bald spot in his mid twenties, so he'd been shaving his head every since then. "Don't worry, I've got one in my suitcase. Speaking of which, you're going to need to give me one drawer in that dresser to myself. That okay?""You're really in this for the long haul, aren't you?" He turned on the water in the shower as he closed the top of the toilet.She leaned in and folded her hands behind his neck, pressing her body up against his. "What did I tell you? You. Own. Me." She kissed him briefly in between each of the last three words. "But that means you belong to me as well. Whenever you go, I go. And I need to take care of you. And you need to take care of me.""I can clear out a drawer for you, no problem, Aisling.""See? It's not that hard to pronounce, is it?""But hey, this is your bathroom now too, so feel free to make it home.""Oo!" she said suddenly and darted back out into the bedroom. Andy could hear her unzipping her little suitcase before she sprinted back in, a giant tricolor beach towel which she set on top of the toilet. It didn't even take him half a second to recognize it was the colors of Ireland's flag. "Little bit of the home country. Now let's get wet. I've never taken a shower with another person before." She lifted her fingers and pressed them against his hair chest, almost shoving him back into the shower.It was rather a long shower, where they got dirty before they got clean again.About forty minutes later, they'd both gotten dried off and dressed and headed downstairs, Aisling bringing her laptop bag with her. Sitting on the couch was a Japanese woman dressed in sweatpants and a baggy t shirt typing away on her laptop while Eric was sitting at his desk on the other side of the room."Andy, meet Lily," Eric said to Andy as he walked down the stairs. "She's my new partner.""S'up," Lily said, not even looking up from her typing."She's kinda in the zone right now. She's a coder with DoorDash.""We talked a bit on the ride over here," Aisling said. "Hi, I'm Aisling. I'm Andy's first partner.""First?" Lily said, stopping typing and looking up and over her shoulder at them as they reached the bottom of the stairs.Andy scowled. "She didn't mean it like that. I wasn't a virgin."Lily snickered a bit. "I know. I'm fucking with you," she said, looking back down to her laptop. "So how was he Ash?""Fucking amazing," Aisling said. "How about yours?""I have a name you know," Eric said."Good but not great," Lily said. "But I'll train him to be the best ever. Best for me, anyway.""Hi Eric," Aisling said, shaking Eric's hand. "Nice to meet you.""I cleared off the dining room table behind Andy's desk to give you a bit of work space, Ash," Eric said. "Lily said you're an artist?""Graphic designer for Alphabet."Andy cocked his head as he and Aisling started to cross the living room, heading towards the dining room. "I didn't know you were a Googler.""I'm a contractor for them, so they don't really consider me a Googler," she sighed. "They might move me from contract to full time at some point, but it's just as likely they're going to just keep giving me new contracts over and over again.""Welcome to life in Silicon Valley," Andy laughed. "Everything's forever, for exactly five minutes."Aisling pulled her laptop out of her bag and set it on the table, noticing the box pushed off to one side. "Blake Conrad, huh?" she said, taking a book out from the box. "My older brother loves these books, but I've never read any of them. Are you a big fan?"From the other room, Eric couldn't help but laugh. "Go on!" he yelled at Andy. "Tell her."Andy rolled his eyes. "Look inside the back flap."Aisling took the hardcover and opened to the back of it, looking at the inside flap where Andy's picture peered back at her. "Wait, are you Blake Conrad?""It's a pen name.""Oh my god! I'm shagging Dermot's favorite pen!" she giggled. "I can't wait to phone him and tell him.""Mmm. I can even autograph a copy of the new one for him and you can mail it out to him, as long as he's not going to be mad that I'm sleeping with his sister."Aisling pulled out a Wacom tablet from her laptop as well as a power cord, plugging it into the wall. "Andy. You're a bloody hero to him. He'll be over the moon.""He's not going to be upset that you're shacking up with a guy you just met? Or that he's going to have, other women?"Aisling kissed him for a long moment, soft and tender. "You're sweet, Andy. But this is the way the world works now. And you're a good man, so Dermot'll be happy that I didn't end up with someone crazy or ugly.""Oh, you don't think I'm ugly?" Andy grinned impishly, as Aisling pushed him back down into his desk chair."Look fella," she teased. "If I thought you were ugly, I'd have said so. Now don't you have work to get to or something?"Andy turned on his computer and the two monitors on his desk sprung to life. "Well, yeah, but theoretically I'm on new partner leave, so I don't really have to be working."She stuck her tongue out at him. "Well, I don't get any such luxury as a contractor, so I need to get some work done today. How does a novelist get partner leave anyway?"He sighed a little. "That's just my side hustle. My day job is as a marketing writer for Netflix."Aisling's face scrunched up in cute confusion. "The books don't pay enough?""Not until they get optioned, which my agent seems to think will happen eventually, but hasn't yet.""I'll have to read them then." Andy tried to mask the look of surprise on his face, but apparently wasn't great at concealing it. "What? I said I hadn't read them, not that I didn't want to read them.""Fair enough!" Andy grabbed his headphones and pulled them onto his head, clicking on iTunes to bring up his music. He wasn't allowed to check out new tasks for his day job, so he figured he might as well get a bit of writing in on his next novel.After a few minutes, Aisling tapped him on the shoulder, so he pulled the headphones off. "What's up?""What're you listening to?""Right now? Post rock band called God Is An Astronaut, but I usually just put my music on shuffle and let it ride.""Can I listen too?"Andy nodded. "Sure, as long as you've got headphones with a long cable and a USB plug.""Certainly do!" she said, holding out the cable.He plugged her in, did a few clicks on his computer, and then they were both listening to his music, just a few feet apart.Andy found it a little hard to focus on his writing, so he decided to take a bit of time to read up on the level system. His boss seemed to know a lot more about it, so he figured it didn't hurt to see what was coming down the pipeline.The virus, it seemed, was hitting the coasts hardest, with N Y C being the biggest disaster area, but the Silicon Valley wasn't far behind. Isolation was the best path, but the bodies were still piling up, so the country was looking to build some stability into people's lives. That meant pairing the single people up. Men were dying at a significantly higher rate than women to the virus, so protecting them had become extremely important. The virus had a mortality rate that was fifty times higher in men than it was in women.Because of that fact alone, it had been determined that virus free men would be ranked on a scale of one to five in terms of their importance to society, and that the higher a man was ranked, the more that person's personal needs would be tended to. So level 1s, which it seemed like was most people, would simply be given the barest amount of effort to find someone to pair with their basic desires. 80% of the men were classified as level ones. Level twos were essential, low risk workers such as construction engineers, clerks, judges and the like. Level three was law enforcement. Level four was figures of high impact. Mark Zuckerberg would've supposedly been a level four if he wasn't already married, one article said. Level five was the front liners in the fight in the virus and those who had made extraordinary contributions to society. They made up a fractional amount of people in the pool, less than half of one percent.A kind of hushed up mythology had been built up around level fives from what Andy could find on the internet. There were stories of emergency doctors who were on the best of days a six in any woman's estimate getting partnered up with women who would never be any less than a ten.Andy scoffed a little bit until he started looking at some of the pictures, and noticed that there were endless pictures of ER doctors and genetics researchers with women way, way, way, way out of their leagues.It was on the fifth collection of photos he spotted a familiar face. There was Dave, the man who'd tested them just a few short days ago, with his arm around a Hispanic knockout who couldn't have been pressed closer to him. And in the group shot with Dave, there were nearly a dozen other similar pairings of schlep and stunner.Once paired, men were being kept in isolation for an indeterminate amount of time. They were allowed to go out for walks, but had to keep fifteen feet away from anyone else. They weren't even permitted to go into stores to go shopping. Andy and Eric had been living on food delivery for weeks now. They'd even had groceries delivered and left on their doorstep. The receipt said the person who delivered them was named Silva, but neither Andy nor Eric had seen them. Andy wondered which of the two women would volunteer to go and get groceries first.During the middle of the day, Eric wanders over to take their orders as he placed a food delivery, but none of them had any chance to talk until dinner, which they also had delivered. Lily got free deliveries working for DoorDash, apparently, so both lunch and dinner had been brought that way."So how did you guys meet?" Lily asked as she was bringing in the bag of food that had been left on their doorstep.Eric laughed. "You want to tell them or should I?"Andy waved his hand, turning his desk chair around so it was up against the dining room table. "You're looking forward to it, so you tell them."Eric grinned as Lily started to take the food “ cheesesteaks it seemed “ and put it out on the table. "He was trying to bang my sister.""I was trying to date your sister," Andy said as Aisling giggled. "There's a difference.""Date her so you could fuck her, let's be clear."Andy rolled his eyes. "That was over a decade ago, so it's probably time to let it go.""She's married and lives in Florida down with her husband and their four kids, so we never really see her much anymore," Eric said."But Eric needed a roommate and I needed a place to live, so I moved into his spare room, and we've been flatmates since then," Andy said. "Aisling's from Dublin, but are you local Lily?""Second generation Bay Area native," Lily said as Eric set a beer in front of her. "My parents live up in Petaluma these days. Are your parents still around here, Eric?""They retired and moved down to Santa Cruz, although they spend half their time out in Florida with their grandkids. I'll introduce you to them over Facetime when they call next.""They going to be happy you hooked up with a Japanese woman?""They'll be happy I'm happy," Eric said. "Beyond that, I don't think they care.""What about you, Andy? You got local family?"Andy shook his head. "I'm from Ohio originally, but I've been out here for longer than I was there. My dad died a few years back, but my mom's still out there, as is my older brother with his wife and their son.""How old's your nephew?" Aisling asked."Conner will be 11 in July. I generally go back every year for Christmas, but this year seems like that's probably out."The Irish girl cocked her head slightly. "How much older is your brother?""Nine years older than me.""No siblings in between?""Nope," Andy said. "You said you have an older brother named Dermot. That your only sibling?"Aisling almost snorted she laughed so suddenly. "Jaysis no. Dermot's the eldest, then me, then my sisters Aoife and Niamh, and the last one is my baby brother Colin, who's about as old as your nephew. What about you, Lily?""Only child, thank fuck," she grumbled. "So, Andy, I understand Aisling's not going to be your only partner. What makes you think you deserve more than one partner, hmm?"Andy raised a hand defensively. "Hey now, I never said I deserve anything.""She's fucking with you, love," Aisling said, poking him with a grin."Spoil sport," Lily said, sticking her tongue out. "I don't really care as long as you're not going to take a pass at me.""You're Eric's partner, Lily. I'm going to respect that.""Good, and I'll make sure he keeps his hands off your girls.""I would never " Eric started to say before Lily raised a finger in his direction and he felt silent."Good boy," Lily said with a smirk. "I'll get him trained yet."Andy had never seen Eric get cowed quite so severely before, but he could swear his flatmate was blushing a little."I'm actually looking forward to seeing who else we get to play with," Aisling said."How many names should I expect to have to learn?" Lily asked."It's a fookin' huge bed, Lil," Aisling giggled. "So I expect a few more.""What I was reading about on the internet says I'm supposed to share my bed with four partners," Andy said, "but that can't possibly be right can it?""Umm. I can't wait," Aisling purred.She didn't have long to wait.To be continued in part 2, by CorruptingPower for Literotica.

In this cozy-chaotic catch-up episode, the witches are back around the ole coffee table with stories, laughter, and a sprinkle of new magic! First up, Mauve shares her enchanting new adventure:Have Cauldron, Will Travel — a roving ritual roadshow bringing sabbats and community magic to witches across Nova Scotia. Think: pop-up circles, moonlit gatherings, and a sabbath rituals with serious main character energy. All aligned with engaging the magical community all across the province and maybe farther to help out where needed. But the real heart of this episode? A deep, soul-stirring (and occasionally giggle-filled) discussion about our next big project: A community-crafted Pagan Book of Prayers.We're dreaming of a beautiful, ever-growing collection of words woven with intention and magic — a book you can turn to when you need grounding, guidance, or a goddess-powered pep talk.Morning offerings, evening gratitude's, prayers to the Moon, charms for strength, rites of passage, seasonal invocations, or those little whispered wishes you say when lighting a candle — we want them all.This isn't about perfection or high poetry (though we love both). It's about authenticity. About creating something sacred and accessible. About capturing the beating heart of modern pagan practice, one prayer at a time.✨ We're officially putting out a call to action:Send us your original prayers, chants, blessings, rituals, and witchy words. Whether it's for Samhain or sunrise, grief or joy, big life shifts or daily devotion — your voice belongs in this.So grab your quills, typewriters, or enchanted iPhones — and let's co-create something powerful, personal, and oh-so-magical.Blessed be, and happy listening.

It's a simple plan this week: We're just looking at what was on television in late May of 1981. Including: A bizarre Happy Days musical, a horrifying Waltons episode, Mork in a bubble, skydiving Hulk, something called "Women Who Rate a 10," Bo Duke with amnesia, Daisy Duke on Enos, Batman on Fantasy Island, a Muppet on a medical drama, a dead parrot at Mel's Diner, and way too many variety shows (from Bob Hope, Steve Allen, Robert Klein, the Gatlin Brothers, and the Mandrell Sisters). It all sounds wonderful, doesn't it? You should probably cancel Netflix and invest in a time machine. The Mayor of Chickentown on The Doctor's Beard podcast! And our regular links... The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Bluesky! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Have Coffee, Will Travel!    

ARTHUR GODFREY TIME-April 18, 1949, John Conolly and Lenny Bruce make an appearance.ArthurGodfrey_1949-04-18_Winner_Lenny_Bruce,_John_Connolly 27:58 THE EDDIE BRACKEN STORY-  February 11, 1945 Whole Day with No Trouble Have Gun, Will Travel. December 07, 1958. CBS net. "Ella West". Sponsored by: Kent. Paladin travels to Abilene to help his friend Tom Carter make a lady out of Ella West, star of his Wild West Show. The script was used on the "Have Gun, Will Travel" television show on January 4, 1958. John Dehner, Norman Macdonnell (producer), Ben Wright, Gene Roddenberry (writer), Hugh Douglas (announcer), Virginia Gregg, Sam Edwards, Harry Bartell, Lawrence Dobkin, Lynn Allen, Barney Phillips, John Dawson (adaptor), Bill James (sound effects), Cliff Thorsness (sound effects), Herb Meadow (creator), Sam Rolfe (creator).FEDERAL AGENT. From October 3, 1944. "The Story Of Henry Benton" A dramatization stories of federal crime fighting from around the world including FBI, the Royal Canadian Mounted Police, French Surete, and Scotland Yard.Stroke Of Fate. October 25, 1953. NBC net. Sustaining. What might have happened if Queen Marie Antoinette had escaped the guillotine. The program is followed by five minutes of news. Anne Burr, Peter Capell, Joe DeSantis, Ross Martin, Kermit Murdock, John Stanley, David Pfeffer, Fred Weihe (director), Henry Cassidy (newscaster), Mort Lewis (producer, conceiver, writer), Lester Lewis (producer), Wesley Addy (narrator), Stephen Laurent (historical consultant, commentator).  Philo Vance. December 26, 1946.  Program #14. Mutual net origination, Ziv syndication. "The Cover Girl Murder Case". Sponsored by: Commercials added locally. ". Jackson Beck, Joan Alexander, S. S. Van Dine (creator), Jeanne K. Harrison (director), Henry Sylvern (organist).  Murder At Midnight. September 06, 1946. Program #21. KFI, Los Angeles origination, Cowan syndication, World transcription. "The Mark Of Cain". Sponsored by: Commercials added locally. A man's insane twin brother escapes from the lunatic asylum. His brother, a drama critic, tries to track him down. The mad brother kills the psychiatrist who put him away...or does he? Which brother is nuts?. Abram S. Guiness (writer); Earl George ; Berry Kroeger (as both brothers); Anton M. Leader (director); Charles Paul (organist); Raymond Morgan (host); Maurice Tarplin; Carl Emory; Louis G. Cowan (producer);TOTAL TIME: 2:56:16.816SOURCES: Wikipedia and The RadioGoldindex.com

Have Pigs, Will Travel is the real-life story of the rise and fall and rise again of a young womanwho came to the United States as an immigrant, by herself, with $20 in her pocket. Aftergrowing up in Germany, she overcame numerous obstacles while pursuing her dream of owninga farm. Pets and farm animals became an important part of her life, eventually passing on herexperience to other young women who worked as international interns on her farm. Follow her journey and read a chapter of her book: https://brigittefranzen.com/ ***********Susanne Mueller / www.susannemueller.biz TEDX Talk, May 2022: Running and Life: 5KM Formula for YOUR Successhttps://www.youtube.com/watch?v=oT_5Er1cLvY 700+ weekly blogs / 450+ podcasts / 1 Ironman Triathlon / 5 half ironman races / 26 marathon races / 3 books / 1 Mt. Kilimanjaro / 1 TEDx Talk

Have Gun, Will Travel 58-12-07 (003) Ella West

In this episode, Alex and Meredith have Sam Valentine, an actor and the owner of the Fast Forward Production podcast production company, on the podcast! They discuss her journey as a Los Angeles-based actor and entrepreneur and how she balances running multiple businesses in addition to her acting career. Sam shares her experience with auditioning and working on set, how she has dealt with body image issues as an actor, and the importance of hard work and resilience.TRIGGER WARNING: Eating Disorders— Meet Sam Valentine!— Success + Public Perception— Sam's Journey: From the Midwest to LA— Body Image & the Acting Industry— Finding Self-Worth Beyond Acting— The Challenges of Running a Business— Working on The Orville as an Alien— Podcasting and Accountability— What's Next for Sam!Resources Mentioned in This Episode:· Deep Work by Cal Newport· Slow Productivity by Cal Newport· Watch Followed· Mary Kills People· Listen to Afternoon Snack: Body Image, Self Esteem, and the Complex Relationships We Have with Ourselves with Lynsey Martin· Inside Out by Demi Moore· Listen to Afternoon Snack: Valendykes Day, Will Travel for a Maybe, and The Default Pucker· Follow @theprettylittlelifters on Instagram· Sam Valentine on The Orville· Sam Valentine - Demo Reel· Follow @samvalentine on Instagram· Listen to the One Broke Actress Podcast· One Broke Actress on YouTube· Fast Forward Production────────────────────────────Want to work with Tactic Functional Nutrition? Check Out Our Services

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show.   Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are.   You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow   A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   
The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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Have Gun, Will Travel 58-11-30 (002) Road to Wickenberg

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show.   Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are.   You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow   A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk   #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
 Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator."   There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations.   His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   
The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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Recently we braved the lawless wilderness of New Hampshire to see a show called "Piano Men and Women," celebrating the music of Billy Joel, Elton John, Stevie Wonder, Carole King, and more. (We were there because our old pal Mike is the guitarist in this show. Mike has come a LONG way since Sponge Awareness...) So now we're throwing all those classic pop stars into a silly FlopFight tournament of randomly selected competitions. Join us as we debate the merits of, say, Freddie Mercury and Barry Manilow in a snow-shoveling contest. Why, there's even a surprise wild card player who has no business in this FlopFight, but just might win the whole thing. Kids, prepare for some thrilling and ridiculous tournament action. The stakes could not be lower. The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Bluesky! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Have Coffee, Will Travel!  

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   
Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator." There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format
The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations. His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. 
Original run
As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS
CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end
The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar
Dick Powell (Audition show in 1948)
Charles Russell (February 1949 – January 1950)
Edmond O'Brien (February 1950 – September 1952)
John Lund (November 1952 – September 1954)
Gerald Mohr (Audition show in 1955)
Bob Bailey (October 1955 – November 1960)
Bob Readick (December 1960 – June 1961)
Mandel Kramer (June 1961 – September 1962)
Legacy
Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. 
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The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones
During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio
Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption
Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation
Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks
The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC).
National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC).
Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president.
Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. 
Programming
In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. 
Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).
Live events
Coverage of live events included musical concerts and play-by-play sports broadcasts. News
The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features
The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy
Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. 
Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas
The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming
The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays
Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows
Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods
The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. 
Radio stations
Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service 
Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II
The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States
There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media
Electrical transcription discs   
The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc
Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording
In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording
Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings
The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status
Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy
United States
Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere
Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   
Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow 
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Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:06:20] Toothpick Tommy and the Truckers - "Bip Bop" [0:08:24] Billy Riley - "Down By The Riverside" [0:10:21] Peck Touchton - "You've Changed Your Tune" [0:12:31] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:15:16] Billy Mize - "Solid Sender" [0:18:00] Davy Mills - "Trenton State Prison" [0:20:42] Jerry Reed - "Have Blues, Will Travel" [0:24:35] Jimmy Gene Smith - "Bottle of Gin" [0:26:52] Tennessee Ernie Ford - "Sixteen Tons" [0:28:09] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:30:43] Johnny Sea - "Stranger" [0:33:30] Sanford Clark - "A Cheat" [0:36:21] Jean Shepard - "Second Fiddle (To An Old Guitar)" [0:38:35] Gene Norton - "Gravy Train" [0:40:51] Gary D. Whatley - "Where's My Baby" [0:43:14] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:46:03] Merle Haggard - "I'm a Lonesome Fugitive" [0:47:58] Bob Allen and the Wanderers - "It's About Time" [0:51:37] Bill Cleaton - "Lovers Hall Of Shame" [0:52:39] Hershel Hamilton - "Is It Really Warm In Tampa" [0:54:47] https://freeform.wfmu.org/playlists/shows/149109

Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:06:20] Toothpick Tommy and the Truckers - "Bip Bop" [0:08:24] Billy Riley - "Down By The Riverside" [0:10:21] Peck Touchton - "You've Changed Your Tune" [0:12:31] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:15:16] Billy Mize - "Solid Sender" [0:18:00] Davy Mills - "Trenton State Prison" [0:20:42] Jerry Reed - "Have Blues, Will Travel" [0:24:35] Jimmy Gene Smith - "Bottle of Gin" [0:26:52] Tennessee Ernie Ford - "Sixteen Tons" [0:28:09] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:30:43] Johnny Sea - "Stranger" [0:33:30] Sanford Clark - "A Cheat" [0:36:21] Jean Shepard - "Second Fiddle (To An Old Guitar)" [0:38:35] Gene Norton - "Gravy Train" [0:40:51] Gary D. Whatley - "Where's My Baby" [0:43:14] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:46:03] Merle Haggard - "I'm a Lonesome Fugitive" [0:47:58] Bob Allen and the Wanderers - "It's About Time" [0:51:37] Bill Cleaton - "Lovers Hall Of Shame" [0:52:39] Hershel Hamilton - "Is It Really Warm In Tampa" [0:54:47] https://www.wfmu.org/playlists/shows/149109

Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:06:20] Toothpick Tommy and the Truckers - "Bip Bop" [0:08:24] Billy Riley - "Down By The Riverside" [0:10:21] Peck Touchton - "You've Changed Your Tune" [0:12:31] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:15:16] Billy Mize - "Solid Sender" [0:18:00] Davy Mills - "Trenton State Prison" [0:20:42] Jerry Reed - "Have Blues, Will Travel" [0:24:35] Jimmy Gene Smith - "Bottle of Gin" [0:26:52] Tennessee Ernie Ford - "Sixteen Tons" [0:28:09] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:30:43] Johnny Sea - "Stranger" [0:33:30] Sanford Clark - "A Cheat" [0:36:21] Jean Shepard - "Second Fiddle (To An Old Guitar)" [0:38:35] Gene Norton - "Gravy Train" [0:40:51] Gary D. Whatley - "Where's My Baby" [0:43:14] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:46:03] Merle Haggard - "I'm a Lonesome Fugitive" [0:47:58] Bob Allen and the Wanderers - "It's About Time" [0:51:37] Bill Cleaton - "Lovers Hall Of Shame" [0:52:39] Hershel Hamilton - "Is It Really Warm In Tampa" [0:54:47] https://freeform.wfmu.org/playlists/shows/149109

Johnny Cash - "I Can't Help It" [0:00:00] Johnny Cash - "You Win Again" [0:06:20] Toothpick Tommy and the Truckers - "Bip Bop" [0:08:24] Billy Riley - "Down By The Riverside" [0:10:21] Peck Touchton - "You've Changed Your Tune" [0:12:31] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:15:16] Billy Mize - "Solid Sender" [0:18:00] Davy Mills - "Trenton State Prison" [0:20:42] Jerry Reed - "Have Blues, Will Travel" [0:24:35] Jimmy Gene Smith - "Bottle of Gin" [0:26:52] Tennessee Ernie Ford - "Sixteen Tons" [0:28:09] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:30:43] Johnny Sea - "Stranger" [0:33:30] Sanford Clark - "A Cheat" [0:36:21] Jean Shepard - "Second Fiddle (To An Old Guitar)" [0:38:35] Gene Norton - "Gravy Train" [0:40:51] Gary D. Whatley - "Where's My Baby" [0:43:14] Music behind DJ: Freddy King - "The Bossa Nova Watusi Twist" [0:46:03] Merle Haggard - "I'm a Lonesome Fugitive" [0:47:58] Bob Allen and the Wanderers - "It's About Time" [0:51:37] Bill Cleaton - "Lovers Hall Of Shame" [0:52:39] Hershel Hamilton - "Is It Really Warm In Tampa" [0:54:47] https://www.wfmu.org/playlists/shows/149109

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator." There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations. His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. Original run As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar Dick Powell (Audition show in 1948) Charles Russell (February 1949 – January 1950) Edmond O'Brien (February 1950 – September 1952) John Lund (November 1952 – September 1954) Gerald Mohr (Audition show in 1955) Bob Bailey (October 1955 – November 1960) Bob Readick (December 1960 – June 1961) Mandel Kramer (June 1961 – September 1962) Legacy Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia   The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs   The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow fe2f4df62ffeeb8c30c04d3d3454779ca91a4871

Good evening and a huge welcome back to the show, I hope you've had a great day and you're ready to kick back and relax with another episode of Brett's old time radio show. Hello, I'm Brett your host for this evening and welcome to my home in beautiful Lyme Bay where it's lovely December night. I hope it's just as nice where you are. You'll find all of my links at www.linktr.ee/brettsoldtimeradioshow A huge thankyou for joining me once again for our regular late night visit to those dusty studio archives of Old Time radio shows right here at my home in the united kingdom. Don't forget I have an Instagram page and YouTube channel both called Brett's old time radio show and I'd love it if you could follow me. Feel free to send me some feedback on this and the other shows if you get a moment, brett@tourdate.co.uk #sleep #insomnia #relax #chill #night #nighttime #bed #bedtime #oldtimeradio #drama #comedy #radio #talkradio #hancock #tonyhancock #hancockshalfhour #sherlock #sherlockholmes #radiodrama #popular #viral #viralpodcast #podcast #podcasting #podcasts #podtok #podcastclip #podcastclips #podcasttrailer #podcastteaser #newpodcastepisode #newpodcast #videopodcast #upcomingpodcast #audiogram #audiograms #truecrimepodcast #historypodcast #truecrime #podcaster #viral #popular #viralpodcast #number1 #instagram #youtube #facebook #johnnydollar #crime #fiction #unwind #devon #texas #texasranger #beer #seaton #seaside  #smuggler #colyton #devon #seaton #beer #branscombe #lymebay #lymeregis #brett #brettorchard #orchard #greatdetectives #greatdetectivesofoldtimeradio #detectives #johnnydollar #thesaint #steptoe #texasrangers   Yours Truly, Johnny Dollar is a radio drama that aired on CBS Radio from February 18, 1949 to September 30, 1962. The first several seasons imagined protagonist Johnny Dollar as a private investigator drama, with Charles Russell, Edmond O'Brien and John Lund portraying Dollar in succession over the years. In 1955 after a yearlong hiatus, the series came back in its best-known incarnation with Bob Bailey starring in "the transcribed adventures of the man with the action-packed expense account – America's fabulous freelance insurance investigator." There were 809 episodes (plus two not-for-broadcast auditions) in the 12-year run, and more than 710 still exist today. Jim Cox's book American Radio Networks: A History cites "886 total performances" which includes repeat performances. Format The format best remembered was instituted by writer-director Jack Johnstone. Each case usually started with a phone call from an insurance adjuster, calling on Johnny to investigate an unusual claim: a suspicious death, an attempted fraud, a missing person, or other mysterious circumstances. Each story required Johnny to travel to some distant locale, usually within the United States but sometimes abroad, where he was almost always threatened with personal danger in the course of his investigations. He would compare notes with the police officials who had first investigated each strange occurrence, and followed every clue until he figured out what actually happened. Johnny's file on each case was usually referenced as a "matter," as in "The Silver Blue Matter" or "The Forbes Matter". Later episodes were more fanciful, with titles like "The Wayward Trout Matter" and "The Price of Fame Matter" (the latter featuring a rare guest-star appearance by Vincent Price as himself; here Price and Dollar team up to retrieve a painting stolen by Price's insurance agent). Johnny usually stuck to business, but would sometimes engage in romantic dalliances with women he encountered in his travels; later episodes gave Johnny a steady girlfriend, Betty Lewis. Johnny's precious recreational time was usually spent fishing, and it was not uncommon for Johnny's clients to exploit this favorite pastime in convincing him to take on a job near good fishing locations. His past was rarely mentioned, but Dollar in “The Bennett Matter” described himself as a four-year US Marine veteran who then worked as a police officer for a decade before changing careers to insurance investigation.[5] In "The Blackburn Case" Dollar also refers to his time as a Pinkerton Detective. Each story was recounted in flashback, and every few minutes the action would be interrupted by Johnny listing a line item from his expense account, which served as an effective scene transition. Most of the expense account related to transportation, lodging, and meals, but no incidental expense was too small for Johnny to itemize, as in "Item nine, 10 cents. Aspirin. I needed them." The monetary amounts weren't always literal: the smallest line item Johnny ever recorded was "two cents: what I felt like" after a professional setback; the largest was "one million dollars" (the way he felt after finding a missing woman and her daughter in a snowbound cabin). The episodes generally finished with Johnny tallying up his expense account and traveling back to Hartford, Connecticut, where he was based. Sometimes Johnny would add a sardonic postscript under "Remarks," detailing the aftermath of the case. ("The Todd Matter," which especially disgusted Johnny, ended abruptly with "Remarks – nil!") In later seasons the program sometimes referred to itself, with other characters recognizing Dollar's voice from the radio; in the episode “The Salkoff Sequel Matter” Johnny's radio show becomes an important plot point. Original run As originally conceived, Johnny Dollar was a smart, tough, wisecracking detective who tossed silver-dollar tips to waiters and bellhops. Dick Powell starred in the audition show, recorded in 1948, but withdrew from the role in favour of other detective programs, Rogue's Gallery and Richard Diamond, Private Detective. The Johnny Dollar role went instead to Charles Russell. The show for which Powell auditioned was originally titled Yours Truly, Lloyd London, although the name of the show and its lead character were changed to avoid legal problems with the actual insurance company, Lloyd's of London, before the audition tape of December 7, 1948, was recorded. With the first three actors to play Johnny Dollar – radio actor Russell and movie tough-guy actors Edmond O'Brien and John Lund – there was little to distinguish Johnny Dollar from other detective series at the time (Richard Diamond, Philip Marlowe and Sam Spade). While always a friend of the police, Johnny wasn't necessarily a stickler for the strictest interpretation of the law. He was willing to let some things slide to satisfy his own sense of justice, as long as the interests of his employer were also protected. The series ended in September 1954. Revival CBS Radio revived Yours Truly, Johnny Dollar in October 1955 with a new leading man, a new director, and a new format. The program changed from a 30-minute, one-episode-per-week program to a 15-minute, five-nights-a-week serial (Monday through Friday, 8–8:15 pm EST) produced and directed by radio veteran Jack Johnstone. The new Johnny Dollar was Bob Bailey, who had just come off another network detective series, Let George Do It. With a new lead and 75 minutes of air time each week, it became possible to develop each storyline with more detail and with more characters. Almost all of the Johnny Dollar serials were presented by CBS Radio on a sustaining basis (unsponsored, with no commercials); only two of the 55 serials take time out for a sponsor's message. Bob Bailey was exceptionally good in this format, making Johnny more sensitive and thoughtful in addition to his other attributes. Vintage-radio enthusiasts often endorse Bailey as the best of the Johnny Dollars, and consider the 13-month run of five-part stories to be some of the greatest drama in radio history. The serial scripts were usually written by Johnstone, "John Dawson" (a pseudonym for E. Jack Neuman), Les Crutchfield, or Robert Ryf. Blake Edwards also contributed several scripts and the show was always produced and directed by Johnstone. The show featured a stock company of supporting actors, including Virginia Gregg, Harry Bartell, Vic Perrin, Lawrence Dobkin, Stacy Harris, Parley Baer, Howard McNear, John Dehner, Barney Phillips, Lillian Buyeff, Tony Barrett, Don Diamond, Alan Reed, and Forrest Lewis. Movie character actors appeared occasionally, including Jay Novello, Hans Conried, Frank Nelson, Leon Belasco, William Conrad, Edgar Barrier, Jeanne Bates, Gloria Blondell, and Billy Halop. In late 1956, CBS Radio retooled the show, which reverted to a weekly half-hour drama, airing on late Sunday afternoons. Bob Bailey continued in the leading role until 1960 and wrote one episode, "The Carmen Kringle Matter," under his first and middle names (Robert Bainter). Staff announcer Dan Cubberly introduced the program during the Edmond O'Brien run; Roy Rowan was the announcer for the first two years of Bob Bailey's run; he also was an announcer on CBS's I Love Lucy. In "The Laird Douglas Matter," the only Johnny Dollar serial played for laughs, Roy Rowan was written into the script as dog-show expert "Ray Roland." In 1957 Rowan was succeeded by Dan Cubberly, returning to the series. Changes at CBS CBS Radio tried to institute an economy measure in June 1959: its four remaining dramatic series (Yours Truly, Johnny Dollar; Suspense; Gunsmoke starring William Conrad; and Have Gun, Will Travel starring John Dehner) would be moved from Hollywood to New York. The plan met with some resistance, because the cast members and crews of Gunsmoke and Have Gun, Will Travel were willing to cancel the shows themselves rather than move to New York. The situation was stalemated for 17 months, as all four programs remained on the air. Finally, in November 1960, CBS Radio kept Gunsmoke in California, discontinued Have Gun, Will Travel, and moved Yours Truly, Johnny Dollar and Suspense to New York. Bob Bailey, unwilling to relocate, gave up the Johnny Dollar role. Bailey's last performance, aired November 27, 1960, was in a script titled "The Empty Threat Matter," perhaps writer Johnstone's editorial comment on CBS's intention to shut down production in California. In New York, CBS staff producer Bruno Zirato Jr. (who also directed TV game shows for CBS) took over Yours Truly, Johnny Dollar, although Johnstone continued to write the scripts. Former child actor Bob Readick took over the leading role in a manner reminiscent of the original Dollar, Charles Russell. After six months he was replaced by Mandel Kramer, who gave the role his own low-key interpretation. Many fans found Mandel Kramer second only to Bailey as the most effective Johnny Dollar. Both Readick and Kramer were members of CBS's stock company in New York, and both appeared in other CBS dramas. The end The final episodes of Yours Truly, Johnny Dollar and Suspense, airing on CBS, are often cited as the end of the golden age of radio. The last episode of Johnny Dollar, "The Tip-Off Matter", ended at 6:35 pm. Eastern Time on September 30, 1962, followed immediately by the final broadcast of Suspense. Although network radio drama returned to the airwaves – in ABC's Theater Five (1964–65), and CBS Radio Mystery Theater (1974–82) – these were more experimental "drama workshop" shows, and did not adhere to a continuing format or leading character, albeit the latter did spark a bit of a revival of drama on US commercial radio networks in the 1970s. The "Golden Age" of radio drama, as pioneered in the 1920s, died with Johnny Dollar in 1962. Three unsuccessful attempts were made to transfer the success of Yours Truly, Johnny Dollar to television. Charles Russell starred in a 1949 pilot directed by Ralph Levy, Bob Bailey starred in a 1958 pilot entitled The Adventures of Johnny Dollar (which failed because Bailey's 5-foot 9-inch, 150-pound physique didn't match the tough-guy characterization), and William Bryant starred in a 1962 pilot entitled Johnny Dollar. The latter was written, produced, and directed by Blake Edwards. Actors who portrayed Dollar Dick Powell (Audition show in 1948) Charles Russell (February 1949 – January 1950) Edmond O'Brien (February 1950 – September 1952) John Lund (November 1952 – September 1954) Gerald Mohr (Audition show in 1955) Bob Bailey (October 1955 – November 1960) Bob Readick (December 1960 – June 1961) Mandel Kramer (June 1961 – September 1962) Legacy Yours Truly, Johnny Dollar was so familiar to CBS Radio's listeners that the network's resident comedians, Bob and Ray, occasionally satirized it. Their version, "Ace Willoughby, International Detective," followed the Johnny Dollar format of exotic locales, continental officials, cool villains, and tense confrontations, with Ray Goulding doing a letter-perfect imitation of Bob Bailey's delivery. In the comedy version, however, the detective usually gave up on the case after being beaten up incessantly. Yours Truly, Johnny Dollar was a popular weekly radio mystery play in the 1960s and early 1970s on Radio Iran. The role of Johnny Dollar was played by Heidar Saremi, a popular radio performer. Contrary to the original, Johnny Dollar was more of a criminal investigator. At the end of each episode, the narrator asked the radio audience how Johnny found the perpetrators, making the show a mystery quiz as well as a drama; those who guessed correctly were entered into a raffle for a prize. In the 1970s and 1980s the comedy troupe The Firesign Theatre released a number of satirical record albums; several featured spoofs of old-time radio featuring the character Nick Danger, Third Eye, who was loosely based on Sam Spade and Johnny Dollar. The scripts included inside references to radio with lines such as, "It had been snowing in Santa Barbara ever since the top of the page," and riffs on radio sound effects. In 2003, Moonstone Books adapted the Yours Truly, Johnny Dollar radio program into a graphic novel illustrated by Éric Thériault and written by David Gallaher. The show has been the opening item on The Big Broadcast on WAMU in Washington, D.C. off and on since the early 1990s. As of August 2017, the show is being aired several times a day on KTQA FM 95.3 in Tacoma, WA and CHLU FM in Middle LaHave, Nova Scotia, Canada. In August 2021, the SiriusXM satellite radio network began airing many episodes of the show on its "Radio Classics" channel 148. As of February 2019, a documentary about the program, Last Man Standing – Johnny Dollar & the End of Old-Time Radio, has been produced.[12] In 2023, a new graphic novel series was launched with Johnny Dollar investigating cybercrimes of the modern age. "The man with the action packed expense account" is a cyberinsurance investigator, taking on ransomware actors in the modern age. sleep insomnia relax chill night nightime bed bedtime oldtimeradio drama comedy radio talkradio hancock tonyhancock hancockshalfhour sherlock sherlockholmes radiodrama popular viral viralpodcast podcast brett brettorchard orchard east devon seaton beer lyme regis village condado de alhama spain murcia   The Golden Age of Radio Also known as the old-time radio (OTR) era, was an era of radio in the United States where it was the dominant electronic home entertainment medium. It began with the birth of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, variety and dramatic shows. Radio was the first broadcast medium, and during this period people regularly tuned in to their favourite radio programs, and families gathered to listen to the home radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to be radio listeners. A variety of new entertainment formats and genres were created for the new medium, many of which later migrated to television: radio plays, mystery serials, soap operas, quiz shows, talent shows, daytime and evening variety hours, situation comedies, play-by-play sports, children's shows, cooking shows, and more. In the 1950s, television surpassed radio as the most popular broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and college stations provide their own distinctive formats. Origins A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-broadcast era, could not power a loudspeaker so the family must share earphones During the first three decades of radio, from 1887 to about 1920, the technology of transmitting sound was undeveloped; the information-carrying ability of radio waves was the same as a telegraph; the radio signal could be either on or off. Radio communication was by wireless telegraphy; at the sending end, an operator tapped on a switch which caused the radio transmitter to produce a series of pulses of radio waves which spelled out text messages in Morse code. At the receiver these sounded like beeps, requiring an operator who knew Morse code to translate them back to text. This type of radio was used exclusively for person-to-person text communication for commercial, diplomatic and military purposes and hobbyists; broadcasting did not exist. The broadcasts of live drama, comedy, music and news that characterize the Golden Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and available as late as 1932. It allowed subscribers to eavesdrop on live stage performances and hear news reports by means of a network of telephone lines. The development of radio eliminated the wires and subscription charges from this concept. Between 1900 and 1920 the first technology for transmitting sound by radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920. On Christmas Eve 1906, Reginald Fessenden is said to have broadcast the first radio program, consisting of some violin playing and passages from the Bible. While Fessenden's role as an inventor and early radio experimenter is not in dispute, several contemporary radio researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was, in fact, several weeks earlier. The first apparent published reference to the event was made in 1928 by H. P. Davis, Vice President of Westinghouse, in a lecture given at Harvard University. In 1932 Fessenden cited the Christmas Eve 1906 broadcast event in a letter he wrote to Vice President S. M. Kinter of Westinghouse. Fessenden's wife Helen recounts the broadcast in her book Fessenden: Builder of Tomorrows (1940), eight years after Fessenden's death. The issue of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper's article "In Search of the Truth About Fessenden"[2] and also in James O'Neal's essays.[3][4] An annotated argument supporting Fessenden as the world's first radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Research Centre Canada, in his essay "Fessenden's 1906 Christmas Eve broadcast." It was not until after the Titanic catastrophe in 1912 that radio for mass communication came into vogue, inspired first by the work of amateur ("ham") radio operators. Radio was especially important during World War I as it was vital for air and naval operations. World War I brought about major developments in radio, superseding the Morse code of the wireless telegraph with the vocal communication of the wireless telephone, through advancements in vacuum tube technology and the introduction of the transceiver. After the war, numerous radio stations were born in the United States and set the standard for later radio programs. The first radio news program was broadcast on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local election results. This was followed in 1920 with the first commercial radio station in the United States, KDKA, being established in Pittsburgh. The first regular entertainment programs were broadcast in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: 1,000,000 Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923, on the Los Angeles station KHJ. Growth of radio Broadcast radio in the United States underwent a period of rapid change through the decade of the 1920s. Technology advances, better regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer curiosity into the mass media powerhouse that defined the Golden Age of Radio. Consumer adoption Through the decade of the 1920s, the purchase of radios by United States homes continued, and accelerated. The Radio Corporation of America (RCA) released figures in 1925 stating that 19% of United States homes owned a radio. The triode and regenerative circuit made amplified, vacuum tube radios widely available to consumers by the second half of the 1920s. The advantage was obvious: several people at once in a home could now easily listen to their radio at the same time. In 1930, 40% of the nation's households owned a radio,[8] a figure that was much higher in suburban and large metropolitan areas. The superheterodyne receiver and other inventions refined radios even further in the next decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the centre of American life. 83% of American homes would own a radio by 1940. Government regulation Although radio was well established with United States consumers by the mid-1920s, regulation of the broadcast medium presented its own challenges. Until 1926, broadcast radio power and frequency use was regulated by the U.S. Department of Commerce, until a legal challenge rendered the agency powerless to do so. Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Commission (FRC). One of the FRC's most important early actions was the adoption of General Order 40, which divided stations on the AM band into three power level categories, which became known as Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on November 11, 1928, most of the country's stations were assigned to new transmitting frequencies. Broadcast networks The final element needed to make the Golden Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the same content, and this would be solved with the concept of a radio network. The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, American Telephone & Telegraph Company (AT&T) announced the beginning of advertisement-supported broadcasting on its owned stations, and plans for the development of the first radio network using its telephone lines to transmit the content. In July 1926, AT&T abruptly decided to exit the broadcasting field, and signed an agreement to sell its entire network operations to a group headed by RCA, which used the assets to form the National Broadcasting Company. Four radio networks had formed by 1934. These were: National Broadcasting Company Red Network (NBC Red), launched November 15, 1926. Originally founded as the National Broadcasting Company in late 1926, the company was almost immediately forced to split under antitrust laws to form NBC Red and NBC Blue. When, in 1942, NBC Blue was sold and renamed the Blue Network, this network would go back to calling itself simply the National Broadcasting Company Radio Network (NBC). National Broadcasting Company Blue Network (NBC Blue); launched January 10, 1927, split from NBC Red. NBC Blue was sold in 1942 and became the Blue Network, and it in turn transferred its assets to a new company, the American Broadcasting Company on June 15, 1945. That network identified itself as the American Broadcasting Company Radio Network (ABC). Columbia Broadcasting System (CBS), launched September 18, 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed as company president. Mutual Broadcasting System (Mutual), launched September 29, 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the case with the other three radio networks. Programming In the period before and after the advent of the broadcast network, new forms of entertainment needed to be created to fill the time of a station's broadcast day. Many of the formats born in this era continued into the television and digital eras. In the beginning of the Golden Age, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the inferior sound quality of phonograph discs, the only practical recording medium at that time. As a result, network prime-time shows would be performed twice, once for each coast. Rehearsal for the World War II radio show You Can't Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI). Live events Coverage of live events included musical concerts and play-by-play sports broadcasts. News The capability of the new medium to get information to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), panel discussions, weather reports, and farm reports. The entry of radio into the realm of news triggered a feud between the radio and newspaper industries in the mid-1930s, eventually culminating in newspapers trumping up exaggerated [citation needed] reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a faux newscast. Musical features The sponsored musical feature soon became one of the most popular program formats. Most early radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs as The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Club Eskimos, and King Biscuit Time; commercials, as they are known in the modern era, were still relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's Monitor continued such remotes well into the 1950s by broadcasting live music from New York City jazz clubs to rural America. Singers such as Harriet Lee and Wendell Hall became popular fixtures on network radio beginning in the late 1920s and early 1930s. Local stations often had staff organists such as Jesse Crawford playing popular tunes. Classical music programs on the air included The Voice of Firestone and The Bell Telephone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, continue to this day around the world, and are one of the few examples of live classical music still broadcast on radio. One of the most notable of all classical music radio programs of the Golden Age of Radio featured the celebrated Italian conductor Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that time, nearly all classical musicians and critics considered Toscanini the greatest living maestro. Popular songwriters such as George Gershwin were also featured on radio. (Gershwin, in addition to frequent appearances as a guest, had his own program in 1934.) The New York Philharmonic also had weekly concerts on radio. There was no dedicated classical music radio station like NPR at that time, so classical music programs had to share the network they were broadcast on with more popular ones, much as in the days of television before the creation of NET and PBS. Country music also enjoyed popularity. National Barn Dance, begun on Chicago's WLS in 1924, was picked up by NBC Radio in 1933. In 1925, WSM Barn Dance went on the air from Nashville. It was renamed the Grand Ole Opry in 1927 and NBC carried portions from 1944 to 1956. NBC also aired The Red Foley Show from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961. Comedy Radio attracted top comedy talents from vaudeville and Hollywood for many years: Bing Crosby, Abbott and Costello, Fred Allen, Jack Benny, Victor Borge, Fanny Brice, Billie Burke, Bob Burns, Judy Canova, Eddie Cantor, Jimmy Durante, Burns and Allen, Phil Harris, Edgar Bergen, Bob Hope, Groucho Marx, Jean Shepherd, Red Skelton and Ed Wynn. Situational comedies also gained popularity, such as Amos 'n' Andy, Easy Aces, Ethel and Albert, Fibber McGee and Molly, The Goldbergs, The Great Gildersleeve, The Halls of Ivy (which featured screen star Ronald Colman and his wife Benita Hume), Meet Corliss Archer, Meet Millie, and Our Miss Brooks. Radio comedy ran the gamut from the small town humor of Lum and Abner, Herb Shriner and Minnie Pearl to the dialect characterizations of Mel Blanc and the caustic sarcasm of Henry Morgan. Gags galore were delivered weekly on Stop Me If You've Heard This One and Can You Top This?,[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on It Pays to Be Ignorant, and other memorable parodies were presented by such satirists as Spike Jones, Stoopnagle and Budd, Stan Freberg and Bob and Ray. British comedy reached American shores in a major assault when NBC carried The Goon Show in the mid-1950s. Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC's popular, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's answer, "Coming, Mother!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Take It with You (1936), became a weekly situation comedy heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan. Other shows were adapted from comic strips, such as Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Sailor, Red Ryder, Reg'lar Fellers, Terry and the Pirates and Tillie the Toiler. Bob Montana's redheaded teen of comic strips and comic books was heard on radio's Archie Andrews from 1943 to 1953. The Timid Soul was a 1941–1942 comedy based on cartoonist H. T. Webster's famed Caspar Milquetoast character, and Robert L. Ripley's Believe It or Not! was adapted to several different radio formats during the 1930s and 1940s. Conversely, some radio shows gave rise to spinoff comic strips, such as My Friend Irma starring Marie Wilson. Soap operas The first program generally considered to be a daytime serial drama by scholars of the genre is Painted Dreams, which premiered on WGN on October 20, 1930. The first networked daytime serial is Clara, Lu, 'n Em, which started in a daytime time slot on February 15, 1932. As daytime serials became popular in the early 1930s, they became known as soap operas because many were sponsored by soap products and detergents. On November 25, 1960, the last four daytime radio dramas—Young Dr. Malone, Right to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end. Children's programming The line-up of late afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Boy, Captain Midnight, and The Tom Mix Ralston Straight Shooters. Badges, rings, decoding devices and other radio premiums offered on these adventure shows were often allied with a sponsor's product, requiring the young listeners to mail in a boxtop from a breakfast cereal or other proof of purchase. Radio plays Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Arch Oboler's Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles's The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies ever presented. They usually starred Welles in the leading role, along with celebrity guest stars such as Margaret Sullavan or Helen Hayes, in adaptations from literature, Broadway, and/or films. They included such titles as Liliom, Oliver Twist (a title now feared lost), A Tale of Two Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-but-infamous 1938 adaptation of H. G. Wells's The War of the Worlds, formatted to sound like a breaking news program. Theatre Guild on the Air presented adaptations of classical and Broadway plays. Their Shakespeare adaptations included a one-hour Macbeth starring Maurice Evans and Judith Anderson, and a 90-minute Hamlet, starring John Gielgud.[22] Recordings of many of these programs survive. During the 1940s, Basil Rathbone and Nigel Bruce, famous for playing Sherlock Holmes and Dr. Watson in films, repeated their characterizations on radio on The New Adventures of Sherlock Holmes, which featured both original stories and episodes directly adapted from Arthur Conan Doyle's stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the two actors as Holmes and Watson, so radio became the only medium in which audiences were able to experience Rathbone and Bruce appearing in some of the more famous Holmes stories, such as "The Speckled Band". There were also many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce. During the latter part of his career, celebrated actor John Barrymore starred in a radio program, Streamlined Shakespeare, which featured him in a series of one-hour adaptations of Shakespeare plays, many of which Barrymore never appeared in either on stage or in films, such as Twelfth Night (in which he played both Malvolio and Sir Toby Belch), and Macbeth. Lux Radio Theatre and The Screen Guild Theater presented adaptations of Hollywood movies, performed before a live audience, usually with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller anthology series. Leading writers who created original material for radio included Norman Corwin, Carlton E. Morse, David Goodis, Archibald MacLeish, Arthur Miller, Arch Oboler, Wyllis Cooper, Rod Serling, Jay Bennett, and Irwin Shaw. Game shows Game shows saw their beginnings in radio. One of the first was Information Please in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the first to use lockout devices and feature returning champions. A relative of the game show, which would be called the giveaway show in contemporary media, typically involved giving sponsored products to studio audience members, people randomly called by telephone, or both. An early example of this show was the 1939 show Pot o' Gold, but the breakout hit of this type was ABC's Stop the Music in 1948. Winning a prize generally required knowledge of what was being aired on the show at that moment, which led to criticism of the giveaway show as a form of "buying an audience". Giveaway shows were extremely popular through 1948 and 1949. They were often panned as low-brow, and an unsuccessful attempt was even made by the FCC to ban them (as an illegal lottery) in August 1949.[23] Broadcast production methods The RCA Type 44-BX microphone had two live faces and two dead ones. Thus actors could face each other and react. An actor could give the effect of leaving the room by simply moving their head toward the dead face of the microphone. The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drop finished pages to the carpeted floor after use. Radio stations Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were made of many programs as they were being broadcast, for review by the sponsor and for the network's own archival purposes. With the development of high-fidelity magnetic wire and tape recording in the years following World War II, the networks became more open to airing recorded programs and the prerecording of shows became more common. Local stations, however, had always been free to use recordings and sometimes made substantial use of pre-recorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs. Recording was done using a cutting lathe and acetate discs. Programs were normally recorded at 331⁄3 rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early 1930s through the 1950s. Sometimes, the groove was cut starting at the inside of the disc and running to the outside. This was useful when the program to be recorded was longer than 15 minutes so required more than one disc side. By recording the first side outside in, the second inside out, and so on, the sound quality at the disc change-over points would match and result in a more seamless playback. An inside start also had the advantage that the thread of material cut from the disc's surface, which had to be kept out of the path of the cutting stylus, was naturally thrown toward the centre of the disc so was automatically out of the way. When cutting an outside start disc, a brush could be used to keep it out of the way by sweeping it toward the middle of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick it up as it was cut and deposit it in a water-filled bottle. In addition to convenience, this served a safety purpose, as the cellulose nitrate thread was highly flammable and a loose accumulation of it combusted violently if ignited. Most recordings of radio broadcasts were made at a radio network's studios, or at the facilities of a network-owned or affiliated station, which might have four or more lathes. A small local station often had none. Two lathes were required to capture a program longer than 15 minutes without losing parts of it while discs were flipped over or changed, along with a trained technician to operate them and monitor the recording while it was being made. However, some surviving recordings were produced by local stations. When a substantial number of copies of an electrical transcription were required, as for the distribution of a syndicated program, they were produced by the same process used to make ordinary records. A master recording was cut, then electroplated to produce a stamper from which pressings in vinyl (or, in the case of transcription discs pressed before about 1935, shellac) were moulded in a record press. Armed Forces Radio Service Frank Sinatra and Alida Valli converse over Armed Forces Radio Service during World War II The Armed Forces Radio Service (AFRS) had its origins in the U.S. War Department's quest to improve troop morale. This quest began with short-wave broadcasts of educational and information programs to troops in 1940. In 1941, the War Department began issuing "Buddy Kits" (B-Kits) to departing troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. However, with the entrance of the United States into World War II, the War Department decided that it needed to improve the quality and quantity of its offerings. This began with the broadcasting of its own original variety programs. Command Performance was the first of these, produced for the first time on March 1, 1942. On May 26, 1942, the Armed Forces Radio Service was formally established. Originally, its programming comprised network radio shows with the commercials removed. However, it soon began producing original programming, such as Mail Call, G.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around 20 hours of original programming each week. From 1943 until 1949 the AFRS also broadcast programs developed through the collaborative efforts of the Office of the Coordinator of Inter-American Affairs and the Columbia Broadcasting System in support of America's cultural diplomacy initiatives and President Franklin Roosevelt's Good Neighbour policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and South America for the entertainment of America's troops. Included among the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres, Kate Smith,[26] and John Serry Sr. After the war, the AFRS continued providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army's only symphonic orchestra ensemble—the Seventh Army Symphony Orchestra. It also provided programming for future wars that the United States was involved in. It survives today as a component of the American Forces Network (AFN). All of the shows aired by the AFRS during the Golden Age were recorded as electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the United States rarely ever heard programming from the AFRS,[31] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations beginning in the 1950s. In some cases, the AFRS disc is the only surviving recording of a program. Home radio recordings in the United States There was some home recording of radio broadcasts in the 1930s and 1940s. Examples from as early as 1930 have been documented. During these years, home recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio program on each side of a twelve-inch 78 rpm record. Most home recordings were made on even shorter-playing ten-inch or smaller discs. Some home disc recorders offered the option of the 331⁄3 rpm speed used for electrical transcriptions, allowing a recording more than twice as long to be made, although with reduced audio quality. Office dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, but the audio quality of these devices was poor and the resulting recordings were in odd formats that had to be played back on similar equipment. Due to the expense of recorders and the limitations of the recording media, home recording of broadcasts was not common during this period and it was usually limited to brief excerpts. The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic use. These were capable of recording an hour-long broadcast on a single small spool of wire, and if a high-quality radio's audio output was recorded directly, rather than by holding a microphone up to its speaker, the recorded sound quality was very good. However, because the wire cost money and, like magnetic tape, could be repeatedly re-used to make new recordings, only a few complete broadcasts appear to have survived on this medium. In fact, there was little home recording of complete radio programs until the early 1950s, when increasingly affordable reel-to-reel tape recorders for home use were introduced to the market. Recording media Electrical transcription discs   The War of the Worlds radio broadcast by Orson Welles on electrical transcription disc Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did so by means of special phonograph records known as "electrical transcriptions" (ETs), made by cutting a sound-modulated groove into a blank disc. At first, in the early 1930s, the blanks varied in both size and composition, but most often they were simply bare aluminum and the groove was indented rather than cut. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the broadcast sponsor or one of the performers. The bare aluminum discs were typically 10 or 12 inches in diameter and recorded at the then-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a 15-minute program. By about 1936, 16-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 331⁄3 rpm, had been adopted by the networks and individual radio stations as the standard medium for recording broadcasts. The making of such recordings, at least for some purposes, then became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation found on the records being made for home use at that time. The large slow-speed discs could easily contain fifteen minutes on each side, allowing an hour-long program to be recorded on only two discs. The lacquer was softer than shellac or vinyl and wore more rapidly, allowing only a few playbacks with the heavy pickups and steel needles then in use before deterioration became audible. During World War II, aluminum became a necessary material for the war effort and was in short supply. This caused an alternative to be sought for the base on which to coat the lacquer. Glass, despite its obvious disadvantage of fragility, had occasionally been used in earlier years because it could provide a perfectly smooth and even supporting surface for mastering and other critical applications. Glass base recording blanks came into general use for the duration of the war. Magnetic wire recording In the late 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute basis, it was less expensive to record a broadcast on wire than on discs. The one-hour program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than three inches in diameter and about half an inch thick. The audio fidelity of a good wire recording was comparable to acetate discs and by comparison the wire was practically indestructible, but it was soon rendered obsolete by the more manageable and easily edited medium of magnetic tape. Reel-to-reel tape recording Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the first to use it on network radio, after he did a demonstration program in 1947. Tape had several advantages over earlier recording methods. Running at a sufficiently high speed, it could achieve higher fidelity than both electrical transcription discs and magnetic wire. Discs could be edited only by copying parts of them to a new disc, and the copying entailed a loss of audio quality. Wire could be divided up and the ends spliced together by knotting, but wire was difficult to handle and the crude splices were too noticeable. Tape could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from live performances preserved on discs to performances pre-recorded on magnetic tape for later broadcast was complete for network radio programs. However, for the physical distribution of pre-recorded programming to individual stations, 16-inch 331⁄3 rpm vinyl pressings, less expensive to produce in quantities of identical copies than tapes, continued to be standard throughout the 1950s. Availability of recordings The great majority of pre-World War II live radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning then several of the longer-running radio dramas have their archives complete or nearly complete. The earlier the date, the less likely it is that a recording survives. However, a good number of syndicated programs from this period have survived because copies were distributed far and wide. Recordings of live network broadcasts from the World War II years were preserved in the form of pressed vinyl copies issued by the Armed Forces Radio Service (AFRS) and survive in relative abundance. Syndicated programs from World War II and later years have nearly all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic tape for subsequent network broadcast, but did not physically distribute copies, and the expensive tapes, unlike electrical transcription ("ET") discs, could be "wiped" and re-used (especially since, in the age of emerging trends such as television and music radio, such recordings were believed to have virtually no rerun or resale value). Thus, while some prime time network radio series from this era exist in full or almost in full, especially the most famous and longest-lived of them, less prominent or shorter-lived series (such as serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows made by, or at the behest of, individuals for their own private use, sometimes help to fill in such gaps. The contents of privately made recordings of live broadcasts from the first half of the 1930s can be of particular interest, as little live material from that period survives. Unfortunately, the sound quality of very early private recordings is often very poor, although in some cases this is largely due to the use of an incorrect playback stylus, which can also badly damage some unusual types of discs. Most of the Golden Age programs in circulation among collectors—whether on analogue tape, CD, or in the form of MP3s—originated from analogue 16-inch transcription disc, although some are off-the-air AM recordings. But in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the home market did not come until the very end of the twentieth century. Collectors made and shared recordings on analogue magnetic tapes, the only practical, relatively inexpensive medium, first on reels, then cassettes. "Sharing" usually meant making a duplicate tape. They connected two recorders, playing on one and recording on the other. Analog recordings are never perfect, and copying an analogue recording multiplies the imperfections. With the oldest recordings this can even mean it went out the speaker of one machine and in via the microphone of the other. The muffled sound, dropouts, sudden changes in sound quality, unsteady pitch, and other defects heard all too often are almost always accumulated tape copy defects. In addition, magnetic recordings, unless preserved archivally, are gradually damaged by the Earth's magnetic field. The audio quality of the source discs, when they have survived unscathed and are accessed and dubbed anew, is usually found to be reasonably clear and undistorted, sometimes startlingly good, although like all phonograph records they are vulnerable to wear and the effects of scuffs, scratches, and ground-in dust. Many shows from the 1940s have survived only in edited AFRS versions, although some exist in both the original and AFRS forms. As of 2020, the Old Time Radio collection at the Internet Archive contains 5,121 recordings. An active group of collectors makes digitally available, via CD or download, large collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio. Copyright status Unlike film, television, and print items from the era, the copyright status of most recordings from the Golden Age of Radio is unclear. This is because, prior to 1972, the United States delegated the copyrighting of sound recordings to the individual states, many of which offered more generous common law copyright protections than the federal government offered for other media (some offered perpetual copyright, which has since been abolished; under the Music Modernization Act of September 2018, any sound recording 95 years old or older will be thrust into the public domain regardless of state law). The only exceptions are AFRS original productions, which are considered work of the United States government and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does not apply to programs carried by AFRS but produced by commercial networks). In practice, most old-time radio recordings are treated as orphan works: although there may still be a valid copyright on the program, it is seldom enforced. The copyright on an individual sound recording is distinct from the federal copyright for the underlying material (such as a published script, music, or in the case of adaptations, the original film or television material), and in many cases it is impossible to determine where or when the original recording was made or if the recording was copyrighted in that state. The U.S. Copyright Office states "there are a variety of legal regimes governing protection of pre-1972 sound recordings in the various states, and the scope of protection and of exceptions and limitations to that protection is unclear."[39] For example, New York has issued contradicting rulings on whether or not common law exists in that state; the most recent ruling, 2016's Flo & Eddie, Inc. v. Sirius XM Radio, holds that there is no such copyright in New York in regard to public performance.[40] Further complicating matters is that certain examples in case law have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may not be eligible for copyright in and of themselves. The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of old-time radio programs. Legacy United States Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s, even after their television equivalents had conquered the general public. One factor which helped to kill off old-time radio entirely was the evolution of popular music (including the development of rock and roll), which led to the birth of the top 40 radio format. A top 40 show could be produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the end of the golden-age era of radio drama by 1962. (Radio as a broadcast medium would survive, thanks in part to the proliferation of the transistor radio, and permanent installation in vehicles, making the medium far more portable than television). Full-service stations that did not adopt either top 40 or the mellower beautiful music or MOR formats eventually developed all-news radio in the mid-1960s. Scripted radio comedy and drama in the vein of old-time radio has a limited presence on U.S. radio. Several radio theatre series are still in production in the United States, usually airing on Sunday nights. These include original series such as Imagination Theatre and a radio adaptation of The Twilight Zone TV series, as well as rerun compilations such as the popular daily series When Radio Was and USA Radio Network's Golden Age of Radio Theatre, and weekly programs such as The Big Broadcast on WAMU, hosted by Murray Horwitz. These shows usually air in late nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 old-time radio episodes each week during his 5-hour broadcast. Amari's show is heard on 100+ radio stations coast-to-coast and in 168 countries on American Forces Radio. Local rerun compilations are also heard, primarily on public radio stations. Sirius XM Radio maintains a full-time Radio Classics channel devoted to rebroadcasts of vintage radio shows. Starting in 1974, Garrison Keillor, through his syndicated two-hour-long program A Prairie Home Companion, has provided a living museum of the production, tone and listener's experience of this era of radio for several generations after its demise. Produced live in theatres throughout the country, using the same sound effects and techniques of the era, it ran through 2016 with Keillor as host. The program included segments that were close renditions (in the form of parody) of specific genres of this era, including Westerns ("Dusty and Lefty, The Lives of the Cowboys"), detective procedurals ("Guy Noir, Private Eye") and even advertising through fictional commercials. Keillor also wrote a novel, WLT: A Radio Romance based on a radio station of this era—including a personally narrated version for the ultimate in verisimilitude. Upon Keillor's retirement, replacement host Chris Thile chose to reboot the show (since renamed Live from Here after the syndicator cut ties with Keillor) and eliminate much of the old-time radio trappings of the format; the show was ultimately cancelled in 2020 due to financial and logistics problems. Vintage shows and new audio productions in America are accessible more widely from recordings or by satellite and web broadcasters, rather than over conventional AM and FM radio. The National Audio Theatre Festival is a national organization and yearly conference keeping the audio arts—especially audio drama—alive, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted by Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin advised the organization. One of the longest running radio programs celebrating this era is The Golden Days of Radio, which was hosted on the Armed Forces Radio Service for more than 20 years and overall for more than 50 years by Frank Bresee, who also played "Little Beaver" on the Red Ryder program as a child actor. One of the very few still-running shows from the earlier era of radio is a Christian program entitled Unshackled! The weekly half-hour show, produced in Chicago by Pacific Garden Mission, has been continuously broadcast since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.S. and around the world by thousands of radio stations. Today, radio performers of the past appear at conventions that feature re-creations of classic shows, as well as music, memorabilia and historical panels. The largest of these events was the Friends of Old Time Radio Convention, held in Newark, New Jersey, which held its final convention in October 2011 after 36 years. Others include REPS in Seattle (June), SPERDVAC in California, the Cincinnati OTR & Nostalgia Convention (April), and the Mid-Atlantic Nostalgia Convention (September). Veterans of the Friends of Old Time Radio Convention, including Chairperson Steven M. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Audio Theatre and long-time FOTR Publicist Sean Dougherty have launched a successor event, Celebrating Audio Theatre – Old & New, scheduled for October 12–13, 2012. Radio dramas from the golden age are sometimes recreated as live stage performances at such events. One such group, led by director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Centre for the Arts since the year 2000. The 40th anniversary of what is widely considered the end of the old time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR's All Things Considered. A handful of radio programs from the old-time era remain in production, all from the genres of news, music, or religious broadcasting: the Grand Ole Opry (1925), Music and the Spoken Word (1929), The Lutheran Hour (1930), the CBS World News Roundup (1938), King Biscuit Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-form length of 30 minutes or less. The Wheeling Jamboree counts an earlier program on a competing station as part of its history, tracing its lineage back to 1933. Western revival/comedy act Riders in the Sky produced a radio serial Riders Radio Theatre in the 1980s and 1990s and continues to provide sketch comedy on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour. Elsewhere Regular broadcasts of radio plays are also heard in—among other countries—Australia, Croatia, Estonia,[46] France, Germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United Kingdom, such scripted radio drama continues on BBC Radio 3 and (principally) BBC Radio 4, the second-most popular radio station in the country, as well as on the rerun channel BBC Radio 4 Extra, which is the seventh-most popular station there.   Special thanks to Wikipedia. #starradio #totalstar #star1075 #heart #heartradio #lbc #bbc #bbcradio #bbcradio1 #bbcradio2 #bbcradio3 #bbcradio4 #radio4extra #absoluteradio #absolute #capital #capitalradio #greatesthitsradio #hitsradio #radio #adultcontemporary #spain #bristol #frenchay #colyton #lymeregis #seaton #beer #devon #eastdevon #brettorchard #brettsoldtimeradioshow fe2f4df62ffeeb8c30c04d3d3454779ca91a4871