The First Live Culturalarts Performance Broadcast on Radio Was

Era of popular entertainment in the U.s.a. centered on radio shows

Girl listening to vacuum tube radio during the Great Low. Prior to the emergence of television as the ascendant entertainment medium in the 1950s, families gathered to listen to the habitation radio in the evening.

The Gilt Historic period of Radio, as well known as the old-fourth dimension 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 nascence of commercial radio broadcasting in the early 1920s and lasted through the 1950s, when television gradually superseded radio as the medium of choice for scripted programming, diversity and dramatic shows.

Radio was the showtime broadcast medium, and during this menstruation people regularly tuned in to their favorite radio programs, and families gathered to listen to the dwelling house radio in the evening. According to a 1947 C. E. Hooper survey, 82 out of 100 Americans were found to exist radio listeners.^[one] 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 well-nigh pop broadcast medium, and commercial radio programming shifted to narrower formats of news, talk, sports and music. Religious broadcasters, listener-supported public radio and higher stations provide their own distinctive formats.

Origins [edit]

A family listening to the first broadcasts around 1920 with a crystal radio. The crystal radio, a legacy from the pre-circulate 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 engineering of transmitting sound was undeveloped; the data-carrying ability of radio waves was the aforementioned equally a telegraph; the radio bespeak could be either on or off. Radio communication was by radiotelegraphy; at the sending end, an operator tapped on a switch which acquired 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 interpret them back to text. This type of radio was used exclusively for person-to-person text advice for commercial, diplomatic and military purposes and hobbyists; broadcasting did non be.

The broadcasts of live drama, one-act, music and news that narrate the Aureate Age of Radio had a precedent in the Théâtrophone, commercially introduced in Paris in 1890 and bachelor as late as 1932. Information technology immune subscribers to overhear 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.

Betwixt 1900 and 1920 the outset technology for transmitting sound past radio was developed, AM (amplitude modulation), and AM broadcasting sprang up around 1920.

On Christmas Eve 1906, Reginald Fessenden is said to accept broadcast the first radio programme, consisting of some violin playing and passages from the Bible. While Fessenden'due south part as an inventor and early radio experimenter is non in dispute, several contemporary radio researchers take questioned whether the Christmas Eve broadcast took place, or whether the engagement was, in fact, several weeks earlier. The commencement apparent published reference to the event was made in 1928 by H.P. Davis, Vice President of Westinghouse, in a lecture given at Harvard Academy. In 1932 Fessenden cited the Christmas Eve 1906 circulate event in a letter he wrote to Vice President S.M. Kinter of Westinghouse. Fessenden's wife Helen recounts the circulate in her volume Fessenden: Builder of Tomorrows (1940), 8 years after Fessenden'due south death. The event of whether the 1906 Fessenden broadcast actually happened is discussed in Donna Halper'south article "In Search of the Truth Almost Fessenden"^[2] and also in James O'Neal'due south essays.^{[3] [iv]} An annotated statement supporting Fessenden as the world'southward kickoff radio broadcaster was offered in 2006 by Dr. John S. Belrose, Radioscientist Emeritus at the Communications Inquiry Centre Canada, in his essay "Fessenden's 1906 Christmas Eve circulate."^[5]

It was not until later the Titanic ending in 1912 that radio for mass communication came into faddy, inspired kickoff by the work of apprentice ("ham") radio operators. Radio was particularly important during Earth War I every bit it was vital for air and naval operations. World War I brought near major developments in radio, superseding the Morse code of the wireless telegraph with the song advice 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 prepare the standard for subsequently radio programs. The first radio news plan was circulate on August 31, 1920, on the station 8MK in Detroit; owned by The Detroit News, the station covered local ballot results. This was followed in 1920 with the beginning commercial radio station in the United states, KDKA, being established in Pittsburgh. The first regular entertainment programs were circulate in 1922, and on March 10, Variety carried the front-page headline: "Radio Sweeping Country: ane,000,000 Sets in Use."^[half-dozen] A highlight of this time was the first Rose Basin being broadcast on Jan ane, 1923, on the Los Angeles station KHJ.

Growth of radio [edit]

Broadcast radio in the United States underwent a flow of rapid change through the decade of the 1920s. Engineering science advances, meliorate regulation, rapid consumer adoption, and the creation of broadcast networks transformed radio from a consumer marvel into the mass media powerhouse that defined the Gold Historic period of Radio.

Consumer adoption [edit]

Through the decade of the 1920s, the buy of radios by United States homes continued, and accelerated. RCA released figures in 1925 stating that 19% of United states of america homes owned a radio.^[vii] The triode and regenerative circuit fabricated amplified, vacuum tube radios widely bachelor to consumers by the 2nd half of the 1920s. The advantage was obvious: several people at once in a home could at present easily listen to their radio at the same fourth dimension. In 1930, forty% of the nation's households owned a radio,^[8] a figure that was much higher in suburban and large metropolitan areas.^[7] The superheterodyne receiver and other inventions refined radios fifty-fifty farther in the side by side decade; even as the Great Depression ravaged the country in the 1930s, radio would stay at the center of American life. 83% of American homes would own a radio by 1940.^[9]

Government regulation [edit]

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 ability and frequency use was regulated past the U.S. Department of Commerce, until a legal claiming rendered the agency powerless to do then.^[x] Congress responded by enacting the Radio Act of 1927, which included the formation of the Federal Radio Committee (FRC).

I of the FRC's most of import early actions was the adoption of General Order 40,^[11] which divided stations on the AM band into three power level categories, which became known equally Local, Regional, and Clear Channel, and reorganized station assignments. Based on this plan, effective 3:00 a.m. Eastern time on Nov 11, 1928 almost of the country'due south stations were assigned to new transmitting frequencies.^[12]

Circulate networks [edit]

The final element needed to brand the Aureate Age of Radio possible focused on the question of distribution: the ability for multiple radio stations to simultaneously broadcast the aforementioned content, and this would be solved with the concept of a radio network.^[xiii] The earliest radio programs of the 1920s were largely unsponsored; radio stations were a service designed to sell radio receivers. In early 1922, AT&T announced the first of advertisement-supported dissemination on its owned stations, and plans for the development of the kickoff radio network using its telephone lines to transmit the content.^[fourteen] In July 1926, AT&T abruptly decided to leave the broadcasting field, and signed an agreement to sell its unabridged network operations to a group headed by the Radio Corporation of America (RCA), which used the assets to course the National Broadcasting Company.^[15] Iv radio networks had formed by 1934. These were:

• National Broadcasting Company Red Network (NBC Red), launched September 1926. Originally founded as the National Dissemination Visitor in tardily 1926, the company was almost immediately forced to split up nether antitrust laws to form NBC Ruby 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 (NBC).
• National Broadcasting Company Blue Network (NBC Bluish); launched January ten, 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.^[16] That network identified itself every bit the ABC Radio Network (ABC).
• Columbia Broadcasting Arrangement (CBS), launched September 1927. After an initially struggling attempt to compete with the NBC networks, CBS gained new momentum when William S. Paley was installed every bit company president.^[17]
• Mutual Broadcasting Organization (Mutual), launched 1934. Mutual was initially run as a cooperative in which the flagship stations owned the network, not the other way around as was the example with the other three radio networks.

Programming [edit]

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 24-hour interval. Many of the formats built-in in this era connected into the boob tube and digital eras. In the beginning of the Golden Historic period, network programs were almost exclusively broadcast live, as the national networks prohibited the airing of recorded programs until the late 1940s because of the junior sound quality of phonograph discs, the merely applied recording medium. As a outcome, network prime number-time shows would exist performed twice, once for each coast.

Rehearsal for the Globe War II radio show You Can't Do Business organisation with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly past more than 790 radio stations in the United States, was written and produced by the radio section of the Office of War Information (OWI).

Alive events [edit]

Coverage of live events included musical concerts and play-by-play sports broadcasts.

News [edit]

The capability of the new medium to become data to people created the format of modern radio news: headlines, remote reporting, sidewalk interviews (such as Vox Pop), console 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 reports of a mass hysteria from the (entirely fictional) radio presentation of The War of the Worlds, which had been presented as a fake newscast.

Musical features [edit]

The sponsored musical characteristic presently became i of the well-nigh pop program formats. Near early on radio sponsorship came in the form of selling the naming rights to the program, as evidenced by such programs every bit The A&P Gypsies, Champion Spark Plug Hour, The Clicquot Guild Eskimos, and King Beige Time; commercials, as they are known in the mod era, were withal relatively uncommon and considered intrusive. During the 1930s and 1940s, the leading orchestras were heard ofttimes through big ring 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 equally Harriet Lee and Wendell Hall became popular fixtures on network radio outset in the tardily 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 Bong Phone Hour. Texaco sponsored the Metropolitan Opera radio broadcasts; the broadcasts, now sponsored by the Toll Brothers, go on to this mean solar day around the world, and are ane of the few examples of live classical music nevertheless broadcast on radio. One of the nearly notable of all classical music radio programs of the Gold Age of Radio featured the celebrated Italian usher Arturo Toscanini conducting the NBC Symphony Orchestra, which had been created especially for him. At that fourth dimension, most 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 invitee, had his own program in 1934.) The New York Combo too 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 pop ones, much equally in the days of television before the creation of Net and PBS.

State 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 Evidence from 1951 to 1961, and ABC Radio carried Ozark Jubilee from 1953 to 1961.

One-act [edit]

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, Carmine Skelton and Ed Wynn. Situational comedies too gained popularity, such as Amos 'north' 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 minor town humour 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 Cease Me If You've Heard This One and Tin You Top This?,^[18] panel programs devoted to the art of telling jokes. Quiz shows were lampooned on Information technology Pays to Be Ignorant, and other memorable parodies were presented past such satirists as Fasten 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.

Radio-related World War Ii propaganda poster

Some shows originated as stage productions: Clifford Goldsmith's play What a Life was reworked into NBC'due south pop, long-running The Aldrich Family (1939–1953) with the familiar catchphrases "Henry! Henry Aldrich!," followed by Henry's respond, "Coming, Female parent!" Moss Hart and George S. Kaufman's Pulitzer Prize-winning Broadway hit, You Can't Have It with You (1936), became a weekly state of affairs one-act heard on Mutual (1944) with Everett Sloane and later on NBC (1951) with Walter Brennan.

Other shows were adapted from comic strips, such every bit Blondie, Dick Tracy, Gasoline Alley, The Gumps, Li'l Abner, Little Orphan Annie, Popeye the Crewman, Reddish 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'south 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 Information technology 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.^[19]

Soap operas [edit]

The first program more often than not considered to exist a daytime serial drama by scholars of the genre is Painted Dreams, ^{[20] [21]} which premiered on WGN on October 20, 1930.^[21] The commencement networked daytime series 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 every bit soap operas because many were sponsored past soap products and detergents. On Nov 25, 1960 the last four daytime radio dramas—Young Dr. Malone, Correct to Happiness, The Second Mrs. Burton and Ma Perkins, all broadcast on the CBS Radio Network—were brought to an end.

Children's programming [edit]

The line-upwardly of belatedly afternoon adventure serials included Bobby Benson and the B-Bar-B Riders, The Cisco Kid, Jack Armstrong, the All-American Male child, Helm 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 buy.

Radio plays [edit]

Radio plays were presented on such programs as 26 by Corwin, NBC Short Story, Curvation Oboler'south Plays, Quiet, Please, and CBS Radio Workshop. Orson Welles'south The Mercury Theatre on the Air and The Campbell Playhouse were considered by many critics to be the finest radio drama anthologies always presented. They normally starred Welles in the leading office, 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 Ii Cities, Lost Horizon, and The Murder of Roger Ackroyd. It was on Mercury Theatre that Welles presented his celebrated-simply-infamous 1938 adaptation of H. Yard. 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'southward stories. None of the episodes in which Rathbone and Bruce starred on the radio program were filmed with the 2 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 than famous Holmes stories, such as "The Speckled Band". There were likewise many dramatizations of Sherlock Holmes stories on radio without Rathbone and Bruce.

During the latter office of his career, celebrated actor John Barrymore starred in a radio programme, Streamlined Shakespeare, which featured him in a series of one-60 minutes 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 alive audience, unremarkably with cast members from the original films. Suspense, Escape, The Mysterious Traveler and Inner Sanctum Mystery were popular thriller album 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 [edit]

Game shows saw their beginnings in radio. One of the offset was Data Delight in 1938, and one of the first major successes was Dr. I.Q. in 1939. Winner Take All, which premiered in 1946, was the starting time to use lockout devices and feature returning champions.

A relative of the game prove, which would exist 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 bear witness Pot o' Gilded, but the breakout hit of this type was ABC'southward End the Music in 1948. Winning a prize generally required cognition of what was being aired on the show at that moment, which led to criticism of the giveaway show every bit 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 product methods [edit]

The RCA 44BX microphone had 2 live faces and ii dead ones. Thus actors could face each other and react. An actor could give the consequence of leaving the room by just moving his head toward the dead face up of the microphone.

The scripts were paper-clipped together. It has been disputed whether or not actors and actresses would drib finished pages to the carpeted floor after use.

History of professional radio recordings in the U.s.a. [edit]

Radio stations [edit]

Despite a general ban on use of recordings on broadcasts by radio networks through the late 1940s, "reference recordings" on phonograph disc were fabricated of many programs as they were being circulate, 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 post-obit Earth State of war 2, 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 utilize of prerecorded syndicated programs distributed on pressed (as opposed to individually recorded) transcription discs.

Recording was washed using a cut lathe and acetate discs. Programs were ordinarily recorded at 33 one⁄three rpm on 16 inch discs, the standard format used for such "electrical transcriptions" from the early on 1930s through the 1950s. Sometimes, the groove was cut starting at the within 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 i disc side. By recording the starting time side outside in, the 2d inside out, and so on, the sound quality at the disc alter-over points would match and consequence 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 cut stylus, was naturally thrown toward the center of the disc so was automatically out of the way. When cutting an outside beginning disc, a castor could exist used to keep information technology out of the way by sweeping it toward the eye of the disc. Well-equipped recording lathes used the vacuum from a water aspirator to pick information technology up as it was cut and eolith it in a water-filled bottle. In addition to convenience, this served a safe 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-endemic or affiliated station, which might have 4 or more lathes. A small-scale local station often had none. Ii lathes were required to capture a program longer than fifteen 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 information technology was being made. Even so, some surviving recordings were produced by local stations.^{[24] [25]}

When a substantial number of copies of an electric transcription were required, as for the distribution of a syndicated programme, they were produced by the same procedure used to make ordinary records. A chief 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 molded in a record printing.

Armed Forces Radio Service [edit]

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 parting troops, which consisted of radios, 78 rpm records and electrical transcription discs of radio shows. Notwithstanding, with the entrance of the United States into Earth War 2, 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. Control Performance was the first of these, produced for the first fourth dimension on March ane, 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 shortly began producing original programming, such as Mail service Call, Yard.I. Journal, Jubilee and GI Jive. At its peak in 1945, the Service produced around twenty 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 Diplomacy and the Columbia Broadcasting System in support of America'due south cultural diplomacy initiatives and President Franklin Roosevelt's Proficient Neighbor policy. Included among the popular shows was Viva America which showcased leading musical artists from both North and Southward America for the entertainment of America's troops. Included amidst the regular performers were: Alfredo Antonini, Juan Arvizu, Nestor Mesta Chayres and John Serry Sr.^{[26] [27] [28]}

Later the war, the AFRS connected providing programming to troops in Europe. During the 1950s and early 1960s it presented performances by the Army'south just symphonic orchestra ensemble—the Seventh Ground forces Symphony Orchestra.^[29] It also provided programming for hereafter 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 Gilt Age were recorded equally electrical transcription discs, vinyl copies of which were shipped to stations overseas to be broadcast to the troops. People in the U.s.a. rarely ever heard programming from the AFRS,^[thirty] though AFRS recordings of Golden Age network shows were occasionally broadcast on some domestic stations get-go in the 1950s.

In some cases, the AFRS disc is the only surviving recording of a program.

Home radio recordings in the United States [edit]

At that place was some home recording of radio broadcasts in the 1930s and 1940s. Examples from equally early as 1930 have been documented. During these years, dwelling recordings were made with disc recorders, most of which were only capable of storing about four minutes of a radio plan on each side of a twelve-inch 78 rpm record. Most abode recordings were fabricated on fifty-fifty shorter-playing ten-inch or smaller discs. Some home disc recorders offered the selection of the 33 1⁄three rpm speed used for electrical transcriptions, assuasive a recording more than twice every bit long to be fabricated, although with reduced sound quality. Part dictation equipment was sometimes pressed into service for making recordings of radio broadcasts, only the sound 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 non common during this catamenia and it was commonly express to brief excerpts.

The lack of suitable home recording equipment was somewhat relieved in 1947 with the availability of magnetic wire recorders for domestic employ. 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 past property a microphone up to its speaker, the recorded sound quality was very good. Still, because the wire price money and, like magnetic record, could be repeatedly re-used to make new recordings, merely a few complete broadcasts appear to take survived on this medium. In fact, there was little domicile recording of complete radio programs until the early on 1950s, when increasingly affordable reel-to-reel record recorders for home use were introduced to the market.^{[31] [32]}

Recording media [edit]

Electrical transcription discs [edit]

Before the early 1950s, when radio networks and local stations wanted to preserve a live broadcast, they did and then by ways of special phonograph records known as "electrical transcriptions" (ETs), fabricated by cutting a sound-modulated groove into a bare 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 cutting. Typically, these very early recordings were not made by the network or radio station, but by a private recording service contracted by the circulate sponsor or one of the performers. The bare aluminum discs were typically x or 12 inches in bore and recorded at the so-standard speed of 78 rpm, which meant that several disc sides were required to accommodate even a xv-minute program. By near 1936, sixteen-inch aluminum-based discs coated with cellulose nitrate lacquer, commonly known as acetates and recorded at a speed of 33 ane⁄three 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, so became routine. Some discs were recorded using a "hill and dale" vertically modulated groove, rather than the "lateral" side-to-side modulation constitute on the records being made for home utilise 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 chop-chop, allowing only a few playbacks with the heavy pickups and steel needles and so in use before deterioration became audible.

During World War II, aluminum became a necessary fabric 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 considering information technology could provide a perfectly shine and fifty-fifty supporting surface for mastering and other critical applications. Glass base recording blanks came into general apply for the duration of the war.^[33]

Magnetic wire recording [edit]

In the belatedly 1940s, wire recorders became a readily obtainable means of recording radio programs. On a per-minute ground, information technology was less expensive to record a circulate on wire than on discs. The ane-60 minutes program that required the four sides of two 16-inch discs could be recorded intact on a single spool of wire less than iii 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 [edit]

Bing Crosby became the first major proponent of magnetic tape recording for radio, and he was the kickoff to use it on network radio, subsequently he did a demonstration program in 1947.^{[32] [34]} Tape had several advantages over before recording methods. Running at a sufficiently high speed, information technology 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 sound quality. Wire could exist divided up and the ends spliced together by knotting, simply wire was difficult to handle and the crude splices were too noticeable. Record could be edited by cutting it with a blade and neatly joining ends together with adhesive tape. By early 1949, the transition from alive performances preserved on discs to performances prerecorded on magnetic record for later broadcast was complete for network radio programs.^{[35] [36]} Notwithstanding, for the physical distribution of prerecorded programming to individual stations, xvi-inch 33 one⁄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 [edit]

The great majority of pre-World War Two alive radio broadcasts are lost. Many were never recorded; few recordings antedate the early 1930s. Beginning and then several of the longer-running radio dramas accept their athenaeum consummate 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 menstruation accept survived considering copies were distributed far and wide. Recordings of live network broadcasts from the World War Two 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 2 and afterwards years accept most all survived. The survival of network programming from this time frame is more inconsistent; the networks started prerecording their formerly live shows on magnetic record for subsequent network circulate, only did not physically distribute copies, and the expensive tapes, different electrical transcription ("ET") discs, could exist "wiped" and re-used (particularly since, in the age of emerging trends such every bit boob tube and music radio, such recordings were believed to accept virtually no rerun or resale value). Thus, while some prime fourth dimension network radio series from this era be in full or nigh in total, especially the about famous and longest-lived of them, less prominent or shorter-lived series (such every bit serials) may have only a handful of extant episodes. Airchecks, off-the-air recordings of complete shows fabricated by, or at the behest of, individuals for their ain private use, sometimes assistance to fill in such gaps. The contents of privately made recordings of live broadcasts from the kickoff half of the 1930s can be of particular interest, every bit little live textile from that period survives. Unfortunately, the sound quality of very early individual 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 analog tape, CD, or in the form of MP3s—originated from analog 16-inch transcription disc, although some are off-the-air AM recordings. Only in many cases, the circulating recordings are corrupted (decreased in quality), because lossless digital recording for the habitation market did not come until the very end of the twentieth century.

Collectors made and shared recordings on analog magnetic tapes, the only practical, relatively inexpensive medium, showtime on reels, then cassettes. "Sharing" normally meant making a indistinguishable tape. They connected ii recorders, playing on i and recording on the other. Analog recordings are never perfect, and copying an analog recording multiplies the imperfections. With the oldest recordings this tin can even mean it went out the speaker of 1 machine and in via the microphone of the other. The muffled audio, dropouts, sudden changes in audio quality, unsteady pitch, and other defects heard all besides oftentimes are nigh 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 exist reasonably clear and undistorted, sometimes startlingly good, although similar all phonograph records they are vulnerable to clothing and the effects of scuffs, scratches, and basis-in grit. 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^[update], the Old Fourth dimension Radio collection at the Cyberspace Archive contains v,121 recordings. An agile grouping of collectors makes digitally available, via CD or download, big collections of programs. RadioEchoes.com offers 98,949 episodes in their collection, but not all is old-time radio.^[37]

Copyright status [edit]

Unlike film, boob tube, and print items from the era, the copyright status of almost recordings from the Aureate Age of Radio is unclear. This is because, prior to 1972, the Us delegated the copyrighting of audio 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; nether the Music Modernization Human activity of September 2018, any sound recording 95 years quondam or older will be thrust into the public domain regardless of country constabulary).^[38] The simply exceptions are AFRS original productions, which are considered work of the United states authorities and thus both ineligible for federal copyright and outside the jurisdiction of any state; these programs are firmly in the public domain (this does non employ to programs carried past AFRS but produced by commercial networks).

In do, most one-time-time radio recordings are treated equally orphan works: although there may nonetheless 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 example of adaptations, the original film or goggle box 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."^[38] For example, New York has issued contradicting rulings on whether or non mutual constabulary exists in that state; the about 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 functioning.^[39] Further complicating matters is that certain examples in case police have implied that radio broadcasts (and faithful reproductions thereof), because they were distributed freely to the public over the air, may non exist eligible for copyright in and of themselves.^[40] The Internet Archive and other organizations that distribute public domain and open-source audio recordings maintain extensive archives of quondam-time radio programs.

Legacy [edit]

United States [edit]

Some old-time radio shows continued on the air, although in ever-dwindling numbers, throughout the 1950s fifty-fifty after their television equivalents had conquered the general public. I factor which helped to kill them off entirely was the evolution of pop music (including the development of rock and roll), which led to the birth of the elevation 40 radio format. A acme 40 show could exist produced in a small studio in a local station with minimal staff. This displaced full-service network radio and hastened the stop of virtually all scripted radio drama past 1962. (Radio in and of itself would survive, thanks in office 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 xl or the mellower cute music or MOR formats eventually developed all-news radio in the mid-1960s.

Scripted radio comedy and drama in the vein of old-fourth dimension radio has a limited presence on U.S. radio. Several radio theatre serial are still in production in the Usa, ordinarily ambulation on Sunday nights. These include original series such as Imagination Theater and a radio adaptation of The Twilight Zone Tv set series, as well as rerun compilations such as the pop 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 past Murray Horwitz. These shows unremarkably air in belatedly nights and/or on weekends on small AM stations. Carl Amari's nationally syndicated radio show Hollywood 360 features 5 sometime-time radio episodes each week during his 5-hr broadcast. Amari'southward 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'southward feel of this era of radio for several generations later its demise. Produced live in theaters throughout the land, using the same audio effects and techniques of the era, it ran through 2016 with Keillor equally 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 advertisement 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 later the syndicator cutting ties with Keillor) and eliminate much of the sometime-fourth dimension radio trappings of the format; the show was ultimately canceled in 2020 due to financial and logistics bug.^[41]

Vintage shows and new audio productions in America are attainable 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 system and yearly briefing keeping the sound arts—peculiarly audio drama—live, and continues to involve long-time voice actors and OTR veterans in its ranks. Its predecessor, the Midwest Radio Theatre Workshop, was first hosted past Jim Jordan, of Fibber McGee and Molly fame, and Norman Corwin brash the arrangement.

One of the longest running radio programs celebrating this era is The Gilded Days of Radio, which was hosted on the Military machine Radio Service for more than 20 years and overall for more than than 50 years past Frank Bresee, who also played "Little Beaver" on the Red Ryder plan equally 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-60 minutes show, produced in Chicago by Pacific Garden Mission, has been continuously circulate since 1950. The shows are created using techniques from the 1950s (including home-made sound effects) and are broadcast across the U.Southward. and around the world by thousands of radio stations.

Today, radio performers of the by appear at conventions that feature re-creations of archetype 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 Oct 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 Sometime Time Radio Convention, including Chairperson Steven G. Lewis of The Gotham Radio Players, Maggie Thompson, publisher of the Comic Book Buyer's Guide, Craig Wichman of audio drama troupe Quicksilver Sound Theater and long-time FOTR Publicist Sean Dougherty accept launched a successor event, Celebrating Audio Theater – Old & New, scheduled for October 12–13, 2012.

Radio dramas from the golden age are sometimes recreated as alive stage performances at such events. One such group, led past director Daniel Smith, has been performing re-creations of old-time radio dramas at Fairfield University's Regina A. Quick Center for the Arts since the twelvemonth 2000.^{[42] [43]}

The 40th anniversary of what is widely considered the end of the one-time time radio era (the final broadcasts of Yours Truly, Johnny Dollar and Suspense on September 30, 1962) was marked with a commentary on NPR'due south All Things Considered.^[44]

A handful of radio programs from the former-time era remain in product, all from the genera 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 Beige Time (1941) and the Renfro Valley Gatherin' (1943). Of those, all but the Opry maintain their original short-course length of xxx minutes or less. The Wheeling Jamboree counts an earlier plan on a competing station as role of its history, tracing its lineage back to 1933.

Western revival/comedy human activity Riders in the Sky produced a radio serial Riders Radio Theater in the 1980s and 1990s and continues to provide sketch one-act on existing radio programs including the Grand Ole Opry, Midnite Jamboree and WoodSongs Old-Time Radio Hour.

Elsewhere [edit]

Regular broadcasts of radio plays are also heard in—amidst other countries—Commonwealth of australia, Republic of croatia, Estonia,^[45] France, Federal republic of germany, Ireland, Japan, New Zealand, Norway, Romania, and Sweden. In the United kingdom of great britain and northern ireland, such scripted radio drama continues on BBC Radio three and (principally) BBC Radio four, the second-about popular radio station in the land, likewise as on the rerun aqueduct BBC Radio 4 Extra, which is the seventh-most pop station in that location.

Museums [edit]

• SPARK Museum of Electrical Invention
• Museum of Broadcast Communications
• Paley Center for Media
• Pavek Museum of Dissemination
• Radio Days "theater of the mind" Museum

See also [edit]

• List of old-time radio programs
• List of old-time American radio people
• Listing of U.S. radio programs
• Listing of radio lather operas
• Listing of radios – List of specific models of radios
• Antique radio
• Audio theater
• Carl Amari
• Chuck Schaden
• Music radio
• Radio one-act
• Radio Days (Woody Allen film dramatizing erstwhile-time radio)
• Radio drama
• Remember WENN (AMC idiot box series set up at an old-time radio station in Pittsburgh)
• Soap opera
• When Radio Was

Notes [edit]

1. ^ "The Golden Historic period of Radio | SPARK Museum of Electric Invention". SPARK Museum of Electric Invention. Archived from the original on 2019-10-24. Retrieved 2019-10-24 .
2. ^ Halper, Donna (14 February 2007). "In Search of the Truth Virtually Fessenden". Radio World Online. Archived from the original on 12 September 2012. Retrieved 23 December 2016. {{cite spider web}}: CS1 maint: unfit URL (link)
3. ^ O'Neal, James Eastward. (October 25, 2006). "Fessenden: World's First Broadcaster? – A Radio History Vitrify Finds That Prove for the Famous Brant Rock Broadcast Is Lacking". Radio World Online. Archived from the original on 29 January 2007. {{cite web}}: CS1 maint: unfit URL (link)
4. ^ O'Neal, James E. (Dec 23, 2008). "Fessenden – The Next Chapter". Radio Earth Online. Archived from the original on September sixteen, 2009. Retrieved June 29, 2009. {{cite spider web}}: CS1 maint: unfit URL (link)
5. ^ Belrose, John S. "Fessenden'due south 1906 Christmas Eve circulate" (PDF). Archived (PDF) from the original on ten January 2017. Retrieved 23 December 2016.
6. ^ Sayles, Ron. Old-Fourth dimension Radio Digest, Volume 2009, number 51.
7. ^ ^{a b} "Radio: A Consumer Product and a Producer of Consumption (Interactive Historical Introduction, Coolidge-Consumerism Collection)". American Memory Assist Desk. 1995-08-fourteen.
8. ^ "Fifteenth Census of the U.s.: 1930 (Abstract of the Fifteenth Demography of the United States)" (PDF). The states Census Agency. 1933.
9. ^ "Sixteenth Census of the United States: 1940 (Housing, Volume Two, General Chraracteristics)" (PDF). United States Census Bureau. 1943.
10. ^ "Hoover Advised That He Has No Authority Over the Radio Rules". The Herald Statesman. 1926-07-09. p. 2. Retrieved 2020-10-10 .
11. ^ "Full general Lodge No. 40 (August thirty, 1928)", Radio Service Bulletin, August 31, 1928, pp. 9–x.
12. ^ "Broadcasting Stations by Moving ridge Lengths, Constructive Nov 11, 1928", Commercial and Government Radio Stations of the United States (Edition June thirty, 1928), pp. 172–176.
13. ^ Donald Christensen, "Call up Radio?" July, 2012 http://www.todaysengineer.org/2012/Jul/backscatter.asp Archived 2013-01-27 at the Wayback Automobile
14. ^ "National Radio Circulate By Bong System", Science & Invention, April 1922, pp. 1144, 1173.
15. ^ "Big Business organisation and Radio" past Gleason Fifty. Archer, 1939, pp. 275–276.
16. ^ "Moving Day For Radio Nears". The Birmingham News. 1945-06-13. p. 10. Retrieved 2020-x-10 .
17. ^ Emerge Bedell Smith, In All His Glory: the Life and Times of William Southward. Paley and the Birth of Modern Broadcasting (1990)^{[ ISBN missing ]}
18. ^ "Home". www.museum.tv. Archived from the original on 22 September 2012. Retrieved 30 March 2018.
19. ^ "Everybody's Friend: Remembering Stan Lee and Dan DeCarlo's 'My Friend Irma'". Hogan's Alley. cartoonician.com. 2010. Archived from the original on 2013-03-nineteen. Retrieved 2013-03-25 .
20. ^ Cox, Jim (2005). Historical Dictionary of American Radio Soap Operas. Scarecrow Press. ISBN978-0-8108-6523-5.
21. ^ ^{a b} Cox, Jim (2003). Frank and Anne Hummert's radio manufacturing plant: the programs and personalities of dissemination'south most prolific producers. McFarland. ISBN978-0786416318.
22. ^ Hamlet (Episode 065) (MP3). Theater Guild on the Air. Internet Archive. 1951-03-04.
23. ^ "FCC Bans Give-Away Radio Shows". The Miami Herald. 1949-08-xx. p. i. Retrieved 2020-10-10 .
24. ^ Bradley, Hanson (thirty March 2018). "The Tennessee Jamboree: Local Radio, the Barn Dance, and Cultural Life in Appalachian East Tennessee". southernspaces.org. 2008. Archived from the original on 15 April 2018. Retrieved 30 March 2018.
25. ^ Fybush, Scott. "Frequently-Asked Questions". The Archives@BostonRadio.org. Archived from the original on 2007-04-19. Retrieved 2007-05-sixteen .
26. ^ The Directory of the Armed forces Radio Service Serial Mackenzie, Harry. Greenwood Publishing Group, Westport CT, 1999 p. 21 ISBN 0-313-30812-8 Viva America on books.google.com
27. ^ Media Audio & Civilization in Latin America. Editors: Bronfman, Alejanda & Wood, Andrew Grant. Academy of Pittsburgh Press, Pittsburgh, PA, 2012, p. 49 ISBN 978-0-8229-6187-1 books.google.com See p. 49
28. ^ Anthony, Edwin D. (1973). "Records of the Radio Division" (PDF). Records of the Part of Inter-American Affairs. Vol. Inventory of Record Group 229. Washington D.C.: National Athenaeum and Tape Services – General Services Administration. pp. 25–26. LCCN 73-600146.
29. ^ The Directory of the Armed Forces Radio Service Serial Harry MacKenzie, Greeenwood Press, CT. 1999, p. 198 ISBN 0-313-30812-8 "Seventh Army Symphony on Armed forces Radio in 1961 performing works by Vivaldi and Dvorak" via – Google Books
30. ^ "Armed Forces Radio Services broadcasts". Bing Crosby Internet Museum. Archived from the original on 2007-02-21. Retrieved 2007-05-16 .
31. ^ "The History of Magnetic Record". audiolabo.free.fr. Archived from the original on 20 July 2011. Retrieved thirty March 2018.
32. ^ ^{a b} Bensman, Marvin R. "A History of Radio Plan Collecting". Radio Annal of the University of Memphis. Archived from the original on 2010-06-18. Retrieved 2007-05-18 .
33. ^ Beaupre, Walter J. "Music Electrically Transcribed!". The Vintage Radio Place. Archived from the original on 2007-eleven-09. Retrieved 2007-11-05 .
34. ^ "ABC Spends 100G in Shift From Wax to Record Repeats Archived 2015-03-17 at the Wayback Car", Billboard, February. 21, 1948, p. half dozen.
35. ^ "NBC Drops All Wax Bans Archived 2015-03-17 at the Wayback Machine", Billboard, Jan. 29, 1949, p. five.
36. ^ "Webs' Record Measure Grows Archived 2015-03-17 at the Wayback Motorcar", Billboard, November. 5, 1949, p. 5.
37. ^ "RadioEchoes.com". RadioEchoes.com. Retrieved 2021-02-11 .
38. ^ ^{a b} "Federal Copyright Protection for Pre-1972 Sound Recordings – U.South. Copyright Part". world wide web.copyright.gov. Archived from the original on 8 March 2018. Retrieved 30 March 2018.
39. ^ Klepper, David (20 December 2016). "Owner of 1967 Hit Song 'Happy Together' Lose Copyright Case". Associated Press. Archived from the original on 21 December 2016. Retrieved xiii April 2017.
40. ^ This was a key point in Waring 5. WDAS Broadcasting Sta., a instance that determined that a record company could merits copyright on a sound recording under Pennsylvania law because the recording was specifically designated equally not beingness for radio broadcast.
41. ^ Baenen, Jeff (April 12, 2016). Farewell, Lake Wobegon: 'Prairie Home' is getting a new host Archived 2016-04-15 at the Wayback Automobile. AP. Retrieved April 13, 2016.
42. ^ Spiegel, Jan Ellen (2007-09-09). "We Interrupt This Play for a News Bulletin on the State of war". The New York Times. Archived from the original on 2017-07-01. Retrieved 2007-09-09 .
43. ^ "Radio Dramas". Regina A. Quick Center for the Arts. Fairfield Academy. 2007. Archived from the original on 2007-08-thirteen. Retrieved 2008-04-18 .
44. ^ Chimes, Art. "Last Radio Drama". National Public Radio. Archived from the original on 2011-06-04. Retrieved 2010-01-22 .
45. ^ "Raadioteater" (in Estonian). Eesti Rahvusringhääling (formerly Eesti Raadio). 2015. Archived from the original on 2015-02-07. Retrieved 2015-02-01 .

References [edit]

• Blue, Howard (2002). Words at State of war: World War Ii Era Radio and the Postwar Broadcasting Industry Blacklist. Lanham, Medico: Scarecrow Press. ISBN 0-8108-4413-three
• Dunning, John (1998). On the Air: The Encyclopedia of One-time-Time Radio . Oxford University Press. ISBN0-xix-507678-8.

Further reading [edit]

• Buxton, Frank, and Bill Owen. (1972). The Big Circulate 1920–1950. New York: Viking Press.
• Delong, Thomas A. (1980). The Mighty Music Box: The Golden Age of Radio. Los Angeles, CA: Amber Crest Books. ISBN 0-86533-000-10
• Dunning, John. (1976). Tune in Yesterday: The Ultimate Encyclopedia of One-time-Fourth dimension Radio 1925–1976. Englewood Cliffs, NY: Prentice Hall. ISBN 0-13932-616-ii.
• Maltin, Leonard. (1997). The Great American Broadcast: A Celebration of Radio'due south Golden Historic period. New York: Dutton. ISBN 0-52594-183-five.
• Nachman, Gerald. (1998). Raised on Radio. New York: Pantheon, 1998. ISBN 0-37540-287-Ten.
• Information technology's That Time Again, Volume iv, edited past Jim Harmon. Albany, NY: BearManor Media, 2009. ISBN 1-59393-118-ii.

External links [edit]

• Gunsmoke serial on WRCW Radio
• Old Time Radio on-line archive at Archive.org
• Old Time Radio on Way Back When
• Audio Noir internet radio station – costless old time radio detective & crime shows
• OTRR: Old Time Radio Inquiry group – OTR restoration and preservation
• OTRR Internet Archive homepage – comprehensive OTRR collections
• Aureate Age of Radio at Curlie

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Source: https://en.wikipedia.org/wiki/Golden_Age_of_Radio

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