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24-499: The Boosh (released on CD as The Mighty Boosh ) is a 2001 radio series , written and performed by The Mighty Boosh ( Julian Barratt , Noel Fielding , and Rich Fulcher ), and originally broadcast on BBC London Live , then BBC Radio 4 , and later BBC 7 . The Boosh were signed by the BBC soon after the success of Autoboosh and in October 2001 The Boosh , produced by Danny Wallace ,

48-446: A comedy show thinly disguised as car advice, and Wait Wait... Don't Tell Me! . Shows featuring comedic music are also popular; one of the better known national comedy music programs is the long-running weekly program hosted by Dr. Demento , and several other local stations (mostly college radio, freeform and eclectic formats) have similar programs. Several networks program 24 hours a day of stand-up comedy routines; several channels on

72-717: A home on Australia 's Radio National and in Ireland there are always a few comedy shows in the week's programming on RTÉ . A locally produced Australian comedic radio program is Hamish & Andy , and in the United Kingdom an example is The Burkiss Way . Radio in Canada is fragmented between the public broadcasters the CBC and Radio Canada in English and French respectively, and a number of independent stations and syndicated networks spread across

96-689: A major mass media entertainment and information medium earning many millions of dollars in revenues annually through radio advertising commercials or sponsorship . These latter uses were brought about after 1920 by business entrepreneurs such as David Sarnoff , who created the National Broadcasting Company (NBC), and William S. Paley , who built Columbia Broadcasting System (CBS). These broadcasting (as opposed to narrowcasting ) business organizations began to be called network affiliates , because they consisted of loose chains of individual stations located in various cities, all transmitting

120-461: A pair of Ottawa Valley "lads" or country bumpkins Delmer MacGregor and Cecil Wiggins, played by Gary Perrin and Mike O’Reilly. In real life Perrin was a station executive with little performance training. O'Reilly was an on-air personality, a seasoned bluegrass musician, and multi-instrumentalist. Together they produced a light comedy album, which included Meadow Muffin Blues about stepping in cow pies in

144-510: A radio receiver set. The new medium had grown rapidly through the 1930s, vastly increasing both the size of its audience and its profits. In those early days, it was customary for a corporation to sponsor an entire half-hour radio program, placing its commercials at the beginning and the end. This is in contrast to the pattern which developed late in the 20th century in both television and radio, where small slices of time were sold to many sponsors and no corporation claimed or wanted sponsorship of

168-535: A small budget with just a few sound effects or some simple dialogue. Radio comedy began in the United States in 1930, based on the fact that as most United Kingdom music hall comedians such as Charlie Chaplin and Stan Laurel progressed to silent films , they moved to Hollywood and fed the radio comedy field. Another British music hall comic, George Formby , stayed in the British movie industry, and in 1940 joined

192-623: A very large country. Canadian radio licences are federally managed to limit monopolies. Consequently, programing including comedy, is inconsistent and variable quality. In Toronto Jake Edwards (radio personality) portrayed a punchdrunk boxer known as the Champ who manages to misunderstand social situations and overreact with fisticuffs. Performing musical comedians Maclean and Maclean created foul-mouthed original recordings which became underground hits despite limited airplay due to censorship and legal troubles. The Ottawa market on CHEZ-FM 106.1 featured

216-540: The Grand Ole Opry , has been focused on broadcasting country music since it began in 1925. Radio soap operas began in the U.S. in 1930 with Painted Dreams . Lørdagsbarnetimen , a Norwegian children's show, with its premiere in 1924 interrupted only by the Second World War, was the longest running radio show in the world until it ceased production in 2010. In the early 1950s, television programming eroded

240-799: The Entertainments National Service Association to entertain British World War II troops. UK radio comedy therefore started later, in the 1950s. Radio comedy began in the United States in 1930, and got a much later start in the United Kingdom because many of the British comedians (such as Charlie Chaplin and Stan Laurel ) emigrated to the U.S. to make silent movies in Hollywood , and the American comedians who did not become dramatic actors migrated to radio. Raymond Knight launched The Cuckoo Hour on NBC in 1930, along with

264-504: The Sirius XM Radio platforms focus on this format, as does the terrestrial All Comedy Radio network. Rock music stations often play bits of stand-up comedy within the bounds of their regular formats, usually under the banner of a "five o'clock funnies" feature. In Britain and Canada , however, the BBC and Canadian Broadcasting Corporation respectively have continued making new radio comedy and drama . British radio comedy also has

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288-447: The 1931 network debut of Stoopnagle and Budd on CBS . Comedians such as Fred Allen , Jack Benny , Judy Canova , Bob Hope and Red Skelton were top-rated in the decades that followed. Even after the big name comedians moved to television in the 1950s, radio comedy continued, notably from Bob and Ray (1946–1988), The Firesign Theatre (1966–1972), and segments heard on NBC's Monitor (1955–1975). Radio comedy did not begin in

312-414: The United Kingdom until a generation later, with such popular 1950s shows as The Goon Show (started 1951) and Hancock's Half Hour (started 1957). Later, radio became a proving-ground for many later United Kingdom comedians. Chris Morris began his career in 1986 at Radio Cambridgeshire , and Ricky Gervais began his comedy career in 1997 at London radio station XFM . Although traditional comedy

336-606: The United States and a different version of the shows can be heard on BBC Radio 4 Extra and RTÉ under the name Garrison Keillor's Radio Show . Old shows can be listened to online at the websites of "A Prairie Home Companion" or RTÉ. British radio comedy can be heard on BBC Radio 4 , BBC Radio 2 and BBC Radio 4 Extra . Minnesota Public Radio maintains a website where it is possible to listen to episodes of Comedy College . A British commercial station Oneword broadcast American vintage radio comedy as part of their 24-hour-a-day programming of books, comedy and drama and this

360-415: The entire show, except in rare cases. These later commercials also filled a much larger portion of the total program time than they had in the earlier days. In the early radio age, content typically included a balance of comedy , drama , news, music and sports reporting. Variety radio programs included the most famous Hollywood talent of the day. During the 1920s, radio focused on musical entertainment,

384-448: The first TV series. The Mighty Boosh returned to radio on 22 October 2004, when they did a comedy special for The Breezeblock , a show on BBC Radio 1 . Instead of the plot driven nature of the series, this show featured improvised conversational comedy with Barratt, Fielding and Fulcher, combined with the show's usual mix of electronic music. On 8 November 2004, a 3 disc set was released by BBC Audiobooks containing all 6 episodes from

408-556: The pasture. Many of the BBC's most successful television comedies began life as BBC Radio 4 shows. These include Hancock's Half Hour , Goodness Gracious Me , Knowing Me, Knowing You , The League of Gentlemen , Whose Line Is It Anyway? , Room 101 , Have I Got News For You , (based on Radio 4 's The News Quiz ), Dead Ringers , Mitchell and Webb and The Mighty Boosh , and most recently Little Britain and Absolute Power . The science fiction comedy Red Dwarf

432-550: The popularity of radio comedy, drama and variety shows. By the late 1950s, radio broadcasting took on much the form it has today – strongly focused on music, talk, news and sports, though drama can still be heard, especially on the BBC . Radio comedy Radio comedy , or comedic radio programming , is a radio broadcast that may involve variety show , sitcom elements, sketches , and various types of comedy found in other media. It may also include more surreal or fantastic elements, as these can be conveyed on

456-601: The series, plus extra material. In April 2020 the full first series was made available on the BBC Sounds audio player. [1] Radio programming The original inventors of radio , from Guglielmo Marconi 's time on, expected it to be used for one-on-one wireless communication tasks where telephones and telegraphs could not be used because of the problems involved in stringing copper wires from one point to another, such as in ship-to-shore communications. Those inventors had no expectations whatever that radio would become

480-426: The standard overall-system supplied fare, often at synchronized agreed-upon times. Some of these radio network stations were owned and operated by the networks, while others were independent radio owned by entrepreneurs allied with the respective networks. By selling blocks of time to advertisers, the medium was able to quickly become profitable and offer its products to listeners for free, provided they invested in

504-533: Was developed from ideas in a radio show called Son Of Cliché . Another science fiction comedy The Hitchhiker's Guide to the Galaxy was created for radio , but also went on to great success in book , television and film formats. Examples of American radio comedy can be heard on streaming internet radio stations. Humorous storytelling is the focus of The Moth Radio Hour . Garrison Keillor's A Prairie Home Companion can be heard on public radio stations in

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528-480: Was first broadcast on BBC London Live , then BBC Radio 4 , and later BBC 7 . This six-part series won the Douglas Adams Award for innovative comedy writing. The set is available from the BBC on audio CD, titled The Mighty Boosh . According to the interview track included in the set, Julian Barratt did the primary editing for the radio show. The plots to all the episodes were reworked extensively and reused in

552-635: Was once a significant part of American broadcast radio programming , it is now mainly found in the archives of Old Time Radio enthusiasts and on the Internet streaming of comedy recordings . The majority of mainstream radio comedy now consists of personality-driven shows hosted by talk-radio hosts such as Howard Stern or comedic duos such as Armstrong & Getty and Bob & Tom . Exceptions to this are WSRN's "Audience of Two", Garrison Keillor 's work on Minnesota Public Radio : A Prairie Home Companion and Comedy College , and NPR 's Car Talk ,

576-436: Was streamed on the internet until the station closed in 2008. Interest in radio comedy and radio drama is currently enjoying a resurgence. Epguides.com, which provides encyclopedic information on television shows, has recently begun to build a similar list of radio shows. In America, new groups have formed to try to bring about a renewed interest in the art-form. At the forefront of this new wave of audio-only comedic groups

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