GOLDEN CLASSIC RADIO SHOWS

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. Listen to our radio station Old Time Radio https://link.radioking.com/otradio Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Listen on Ausha  

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Listen on Ausha 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle.

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Listen on Ausha 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

During the 1930s, '40s and '50s, Clyde Beatty enjoyed a celebrity status that, today, we only associate with leading athletes and movie stars. In addition to top billing in the circus world, he was the subject of several best-selling books, starred in several hit motion pictures, and was called upon give major product endorsements. The basic premise of The Clyde Beatty Show was best summed up in the announcement that opened each episode: "The world's greatest wild animal trainer Clyde Beatty with an exciting adventure from his brilliant career. The circus means thrills, excitement, and snarling jungle beasts. The circus means fun for young folks and old. But under the Big Top you see only a part of the story. The real drama comes behind the scenes where five hundred people live as one family, where Clyde Beatty constantly risks death in the most dangerous act on earth. This master of the big cats has journeyed to Africa and India, hunting down his beasts in their native jungle. 

Listen to our radio station Old Time Radio https://link.radioking.com/otradio 

Listen to other Shows at My Classic Radio https://www.myclassicradio.net/ 

Podcast Service I Recommend https://redcircleinc.grsm.io/entertainmentradio7148 

Remember that times have changed, and some shows might not reflect the standards of today’s politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Entertainment Radio

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The 26 episodes follow an expedition led by Professor Anton Edwards as they search for the missing city of Atlantis. They follow the directions of a shrunken head which speaks the ancient language of the people of Atlantis and run into many strange dangers in the African jungle.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.

The biggest names in Hollywood and Broadway recorded for AFRS during the war years, The American Forces Network can trace its origins back to May 26, 1942, when the War Department established the Armed Forces Radio Service (AFRS). The U.S. Army began broadcasting from London during World War II, using equipment and studio facilities borrowed from the British Broadcasting Corporation (BBC). The first transmission to U.S. troops began at 5:45 p.m. on July 4, 1943, and included less than five hours of recorded shows, a BBC news and sports broadcast. That day, Corporal Syl Binkin became the first U.S. Military broadcasters heard over the air. The signal was sent from London via telephone lines to five regional transmitters to reach U.S. troops in the United Kingdom as they prepared for the inevitable invasion of Nazi-occupied Europe. Fearing competition for civilian audiences the BBC initially tried to impose restrictions on AFN broadcasts within Britain (transmissions were only allowed from American Bases outside London and were limited to 50 watts of transmission power) and a minimum quota of British produced programming had to be carried. Nevertheless, AFN programs were widely enjoyed by the British civilian listeners who could receive them, and once AFN operations transferred to continental Europe (shortly after D-Day) AFN were able to broadcast with little restriction with programs available to civilian audiences across most of Europe (including Britain) after dark. As D-Day approached, the network joined with the BBC and the Canadian Broadcasting Corporation to develop programs especially for the Allied Expeditionary Forces. Mobile stations, complete with personnel, broadcasting equipment, and a record library were deployed to broadcast music and news to troops in the field. The mobile stations reported on front line activities and fed the news reports back to studio locations in London.