Podcast appearances and mentions of emma caldwell

Hej och välkomna till Mord Mot Mords sista avsnitt!Anna berättar om när Ada Maria Mills Redpath och hennes son Clifford Redpath hittades skjutna i Adas sovrum i Redpath-familjens herrgård i exklusiva Golden Square Mile, Montreal. Ett klassiskt kanadensiskt mordmysterium. Karin berättar om Emma Caldwell, som mördades i Glasgow 2005 – ett fall som krävde 17 år, en narcissistisk gärningsperson och en grävande och lyssnande journalist att lösa. Tack för de här åren, vi kommer aldrig glömma er!!

Emma Caldwell tiene 27 años, es adicta a la heroína y se prostituye para poder pagar su adicción. Vive en un albergue para mujeres sin hogar en Glasgow, pero sigue teniendo una buena relación con sus padres, que la visitan a menudo. Por eso, cuando su padre va a verla el miércoles 6 de abril de 2005, no la encuentra y pasan los días sin tener noticias de ella, en la familia Caldwell empiezan a temerse lo peor. Y, si se confirman sus sospechas, sería la segunda hija a la que perderían.Más información en el blog: https://criminopatia.com/127-emma-caldwell¡Hazte fan de Criminopatía! Tendrás dos nuevos episodios exclusivos cada mes, todos los meses del año: http://criminopatia.com/fans

Emma Caldwell was murdered in April 2005 by serial rapist and sex offender, Iain Packer. The investigation of her murder was one of Scotland's longest-running cases, with nineteen years between her death and Packer's imprisonment in 2024 for a minimum term of 36 years.Pat was joined on the show by Sam Poling the BBC investigative journalist behind the BBC podcast who managed to catch a killer and Stuart Hall Retired Detective Constable, who solved the case in 5 weeks but had to wait 19 years for justice.

Paloma Faith is an award-winning singer, songwriter and actor. She has released six albums, including her most recent The Glorification of Sadness, received a BRIT Award, been a judge on The Voice UK as well as an actor in films such as St Trinian's and TV's series Pennyworth. She is also the mother of two daughters. She joins Clare to discuss her book – MILF - in which she delves into the issues that face women today from puberty and sexual awakenings, to battling through the expectations of patriarchy and the Supermum myth.Far-right parties across Europe made significant gains in the European elections, and women have been at the forefront of this right-wing shift in several countries. Right-wing groups which include those led by Italian prime minister Giorgia Meloni, France's Marine Le Pen and Germany's Alice Weidel are set to gain further seats in European parliament. To hear about the female leaders of Europe's far-right and what this shift could mean for women, Anita is joined by the host of EU Confidential Politico's Sarah Wheaton and Shona Murray, Europe correspondent for Euronews.Nearly 300 rapes and sexual assaults reported by sex workers during the Emma Caldwell murder investigation were not dealt with by police at the time, the BBC has learned. 276 reports of sex crimes made by sex workers working in Glasgow during the murder inquiry were filed away and not acted upon. Investigate journalist Sam Poling, whose work was pivotal in bringing Emma Caldwell's killer, Iain Packer, to justice in February of this year, joins Clare McDonnell to discuss, along with former Detective Sergeant Willie Mason.The American singer-songwriter, Chaka Khan, known as the Queen of Funk, is celebrating her 50th anniversary in music this year. With hits such as Ain't Nobody, I Feel for You and the anthem I'm Every Woman her music has sold an estimated 70 million records, winning her 10 Grammy Awards. She is curating Meltdown 2024 at the Royal Festival Hall, and opens the festival tomorrow night. She shares her plans and discusses her favourite songs.Presenter: Anita Rani Producer: Annette Wells Editor: Rebecca Myatt

Police officers who 'brought shame on their uniforms' and let Emma Caldwell's killer Iain Packer walk free for 19 years should be jailed if it is found they 'engaged in criminality', her family's lawyer says.  Packer, 51, was sentenced to life with a minimum term of 36 years at the High Court in Glasgow this month after being found guilty of murdering the 27-year-old in 2005, as well as 11 rapes and 21 other charges, including sexual assaults, against other women. Yet 'one of the UK's worst sex offenders' was left to roam the streets for nearly two decades despite officers being repeatedly told Packer 'is the man' and the warped killed taking officers in 2007 to the spot where Emma's body was dumped. 

Nearly 300 rapes and sexual assaults reported by sex workers during the Emma Caldwell murder investigation were not dealt with by police at the time, the BBC has learned. 276 reports of sex crimes made by sex workers working in Glasgow during the murder inquiry were filed away and not acted upon. Investigate journalist Sam Poling, whose work was pivotal in bringing Emma Caldwell's killer, Iain Packer, to justice in February of this year, joins Clare McDonnell to discuss, along with former Detective Sergeant Willie Mason. Baroness Delyth Morgan, the chief executive of Breast Cancer Now, the largest breast cancer charity, is stepping down after 23 years. She joined Breakthrough Breast Cancer in 1995, where she led fundraising efforts that resulted in the opening of the UK's first dedicated breast cancer research facility in 1999. The crossbench peer, who sits in the House of Lords, joins Clare McDonnell to reflect on her tenure as well as the treatment and outlook for breast cancer. Conservationist Isabella Tree tells Clare about turning her failing farmland estate into one of Europe's most significant rewilding experiments. Her bestselling book about the Knepp Estate project has now been made into a film. Later this week, Wilding is released in cinemas. Virginie Viard, the creative director at Chanel, has announced her resignation from the fashion house. Only three people have held this prestigious position in the brand's 114-year history: Viard, Karl Lagerfeld, and Coco Chanel. Who is in the frame for this esteemed role? And what will be the impact of a change in creative vision at Chanel on the fashion industry at large? Clare talks to Justine Picardie, writer and biographer of Coco Chanel, and Victoria Moss, fashion director at the Evening Standard. Presenter: Clare McDonnell Producer: Dianne McGregor

Police officers who 'brought shame on their uniforms' and let Emma Caldwell's killer Iain Packer walk free for 19 years should be jailed if it is found they 'engaged in criminality', her family's lawyer says. Packer, 51, was sentenced to life with a minimum term of 36 years at the High Court in Glasgow this month after being found guilty of murdering the 27-year-old in 2005, as well as 11 rapes and 21 other charges, including sexual assaults, against other women. Yet 'one of the UK's worst sex offenders' was left to roam the streets for nearly two decades despite officers being repeatedly told Packer 'is the man' and the warped killed taking officers in 2007 to the spot where Emma's body was dumped.

Mairi thinks about what recent rulings in the case of Emma Caldwell and Sarah Everard mean for women and how society can work to make itself safer.  Support the show

Headaches for political parties this week as high profile members voice their opinions. Whether it was Lee Anderson losing the Conservative whip for his comments on "Islamists" controlling London Mayor Sadiq Khan, former Prime Minister Liz Truss voicing thoughts on the "deep state" alongside presidential hopeful Donald Trump's former chief advisor, or the SNP's Fergus Ewing calling his own party "authoritarian" after being suspended, the team discuss the fallout this week from some strong words. Also, First Minister Humza Yousaf considers a public inquiry into the murder of Emma Caldwell, following the conviction of her killer 19 years after the murder and what he described as "systemic failings" in the case, and the Scottish Budget passes in Holyrood.

A young woman living in Glasgow goes missing in the night. What we know about the life of 27-year-old Emma Caldwell and when she was last seen.CREDITS Reporter: Samantha Poling Producer: Mona McAlinden Audio Editor: Jennifer Tracey Story Editor: Kirsty Williams Audio editing and mixing: Fraser Jackson and Kris McConnachie Executive Producers: Jennifer Tracey and Shelley Jofre Commissioning Editors: Louise Thornton and Gareth Hydes Thanks to Matt Roper Special thanks to Eamon O Connor and all those who trusted us to tell their stories. Who Killed Emma? is created and made by BBC Scotland on BBC Sounds.

Iain Packer was sentenced to life almost two decades after Ms Caldwell's body was found

Dr. Shelley Rowlands and expert pregnancy dietitian Emma Caldwell talk to 2 women about how they managed their food choices in pregnancy.   See omnystudio.com/listener for privacy information.

Dr Shelley and expert pregnancy dietitian Emma Caldwell help find the way to a healthy diet in pregnancy without having to give up (all) your favorites. How much weight is the right amount to gain? What are the important foods to include? We answer the questions you can’t find answers to. More info on Emma at www.fitwise.com.au. For more information on Dr. Shelley Rowlands can be found at www.emog.com.au   See omnystudio.com/listener for privacy information.

Emma Caldwell was 27 years old when she went missing in April of 2005, from her hostel in Glasgow. There is CCTV footage of her leaving towards the city's red light district. Weeks later, a dog walker discovered Emma's body in some woodlands outside the city. Although the police arrested and charged suspects in Emma's murder, the case fell apart. 14 years later, Emma's killer still hasn't been brought to justice. Listen in to hear the three main theories about who could be responsible. Anyone with information relating to the murder of Emma Caldwell is asked to contact Police Scotland on 01786 289 070. Cases discussed at the end are as follows: 1991 Dianne McInally (23) - Uncovered in bushes in Pollok Park 1993 Karen McGregor (28) - Beaten and throttled, found at SECC 1995 Leona McGovern (25) - Stabbed and left behind Glasgow’s arts centre 1995 - Marjorie Roberts (34) - Pulled from the Clyde, near Jamaica Bridge 1996 Jacqueline Gallacher (26) - Wrapped in a curtain near a bus stop 1997 Tracey Wylde (21) - Beaten to death in her flat 1998 Margo Lafferty - Battered and strangled in a builder’s yard.

To anyone who's been holding out for a good theatrical sequel, Roberto Aguire Sacasa's Abigail/1702 is the latest member of that rare species. Picking up 10 years from the ending of its predecessor, Arthur Miller's The Crucible, Sacasa plucks out Miller's two-faced antagonist, Abigail Williams, and turns her into a very successful protagonist. The past decade has transformed the jealous young girl into a desperately puritanical young woman. Once a fierce denouncer in the Salem witch trials who sent 20 people to their deaths over a tumultuous affair with John Proctor, the married man she once worked for, she now lives on a farm in Boston. She has abandoned her now infamous name and adopted the new identity of a god-fearing farmer and nurse, which she hopes will drive away Satan's hold on her. So far she has been successful. After all these years of living in a modest little hut, surrounded by dense forest and countless iron crosses, the Devil has not come to reclaim her. However, the arrival of a handsome wounded sailor, who is ironically named John Brown, is enough to stir up feelings that she has thus far been able to suppress. Their attraction to each other is palpable, as much as Abigail might deny it, but she certainly hasn't forgotten the last time she gave in to a man's insistence on bedding her, and not least because both men share the same first name. Abigail/1702 reveals that John Proctor, the protagonist of The Crucible, forced himself upon Abigal the first time that they slept together, even though their later encounters were apparently consensual. While John Brown never physically violates her, he is not about to take no for answer. He scoffs at her choice of chastity, and declares, to the shock of the audience, that "a woman who is not a wife or a mother is only half a woman." Although, thanks to Abigail, John's wife, Elizabeth Proctor, is now a widow with no surviving children, and looks at most like half a woman when Abigail comes to see her in a desperate attempt to set things right. The Crucible's account of the absurd Salem witch-hunt was famously allegorical, with its real target being the anti-communist paranoia that Senator McCarthy was still stirring up when it was first performed. However, Sacasa's sequel does not continue this focus. Its social commentary is much more visible at the surface, but arguably just as contemporary. While it is remarkable how seamlessly our old spiteful villain has transitioned into a sympathetic tragic heroine, there is no denying that she is still up to her old tricks. She is still doing selfish things for purportedly selfless and pious reasons. Her intentions are good, but they are nowhere near as pure as she tells herself. Her interest in redeeming herself, in healing the sick and in caring for orphans only started when she found out that the Devil was in hot pursuit of her. Swinging between extremes is the only way she knows how to survive. When she is not destroying every life in sight, she is trying to save them all. When she is not entering into abusive love affairs, she is abstaining from all sexual acts. Whatever she tries, it never works for long. Boutique Theatre has added their own special touch to the play's premier Australian production. At the bottom of the staircase leading up to the theatre, each guest is offered a small wheat biscuit. At the top of the stairs, they are offered a thimble cup full of either wine or blackcurrant juice. As they go through the big double doors to take their seats, the usher collects their empty cup and warns them that this 'communion' "may not save your soul." Just like this play's depiction of the Devil, who surprisingly is present as a character here, this elaborate welcome strikes the right balance between campy and caustic. Abigail/1702 feels just as cruel as its predecessor, but it is also much more playful. Abigail's sins might have been forgiven, but they certainly have not been forgotten. There is a sadistic sense of inevitability to Abigail's great punishment, as it would seem that not only circumstance but also her nature have always been against her. Under Elizabeth's excellent direction, the cast of this production do a fine job of creating either complex or more cartoonish characters well called upon, just as the special effects team have a good sense of when to make things stylised and certainly know when and how to make things look realistic. Emma Caldwell is particularly impressive as Abigail and Jessica Tanner leaves an especially strong impression as the wounded Elizabeth. Nick Casey's forest-inspired set design is the perfect landscape for these haunting figures to prowl about in and the thrust theatre staging literally gives every audience member a different perspective on the action. Depending on where they are seated, some character reactions may be obscured while others happen in plain view. There is no level playing field for these characters as they each receive their judgement. Sacasa has also written a fair bit for the screen, which shows here in the way he takes his cues from some of the best cinematic sequels as he crafts this follow-up to Arthur Miller's classic play. He draws on the most interesting story points of The Crucible while still having his own story to tell and his own messages to send. As such, Abigail/1702 is not only a fitting continuation of the original story, but it also works solidly as a standalone piece. Written by Christian Tsoutsouvas

To anyone who's been holding out for a good theatrical sequel, Roberto Aguire Sacasa's Abigail/1702 is the latest member of that rare species. Picking up 10 years from the ending of its predecessor, Arthur Miller's The Crucible, Sacasa plucks out Miller's two-faced antagonist, Abigail Williams, and turns her into a very successful protagonist. The past decade has transformed the jealous young girl into a desperately puritanical young woman. Once a fierce denouncer in the Salem witch trials who sent 20 people to their deaths over a tumultuous affair with John Proctor, the married man she once worked for, she now lives on a farm in Boston. She has abandoned her now infamous name and adopted the new identity of a god-fearing farmer and nurse, which she hopes will drive away Satan's hold on her. So far she has been successful. After all these years of living in a modest little hut, surrounded by dense forest and countless iron crosses, the Devil has not come to reclaim her. However, the arrival of a handsome wounded sailor, who is ironically named John Brown, is enough to stir up feelings that she has thus far been able to suppress. Their attraction to each other is palpable, as much as Abigail might deny it, but she certainly hasn't forgotten the last time she gave in to a man's insistence on bedding her, and not least because both men share the same first name. Abigail/1702 reveals that John Proctor, the protagonist of The Crucible, forced himself upon Abigal the first time that they slept together, even though their later encounters were apparently consensual. While John Brown never physically violates her, he is not about to take no for answer. He scoffs at her choice of chastity, and declares, to the shock of the audience, that "a woman who is not a wife or a mother is only half a woman." Although, thanks to Abigail, John's wife, Elizabeth Proctor, is now a widow with no surviving children, and looks at most like half a woman when Abigail comes to see her in a desperate attempt to set things right. The Crucible's account of the absurd Salem witch-hunt was famously allegorical, with its real target being the anti-communist paranoia that Senator McCarthy was still stirring up when it was first performed. However, Sacasa's sequel does not continue this focus. Its social commentary is much more visible at the surface, but arguably just as contemporary. While it is remarkable how seamlessly our old spiteful villain has transitioned into a sympathetic tragic heroine, there is no denying that she is still up to her old tricks. She is still doing selfish things for purportedly selfless and pious reasons. Her intentions are good, but they are nowhere near as pure as she tells herself. Her interest in redeeming herself, in healing the sick and in caring for orphans only started when she found out that the Devil was in hot pursuit of her. Swinging between extremes is the only way she knows how to survive. When she is not destroying every life in sight, she is trying to save them all. When she is not entering into abusive love affairs, she is abstaining from all sexual acts. Whatever she tries, it never works for long. Boutique Theatre has added their own special touch to the play's premier Australian production. At the bottom of the staircase leading up to the theatre, each guest is offered a small wheat biscuit. At the top of the stairs, they are offered a thimble cup full of either wine or blackcurrant juice. As they go through the big double doors to take their seats, the usher collects their empty cup and warns them that this 'communion' "may not save your soul." Just like this play's depiction of the Devil, who surprisingly is present as a character here, this elaborate welcome strikes the right balance between campy and caustic. Abigail/1702 feels just as cruel as its predecessor, but it is also much more playful. Abigail's sins might have been forgiven, but they certainly have not been forgotten. There is a sadistic sense of inevitability to Abigail's great punishment, as it would seem that not only circumstance but also her nature have always been against her. Under Elizabeth's excellent direction, the cast of this production do a fine job of creating either complex or more cartoonish characters well called upon, just as the special effects team have a good sense of when to make things stylised and certainly know when and how to make things look realistic. Emma Caldwell is particularly impressive as Abigail and Jessica Tanner leaves an especially strong impression as the wounded Elizabeth. Nick Casey's forest-inspired set design is the perfect landscape for these haunting figures to prowl about in and the thrust theatre staging literally gives every audience member a different perspective on the action. Depending on where they are seated, some character reactions may be obscured while others happen in plain view. There is no level playing field for these characters as they each receive their judgement. Sacasa has also written a fair bit for the screen, which shows here in the way he takes his cues from some of the best cinematic sequels as he crafts this follow-up to Arthur Miller's classic play. He draws on the most interesting story points of The Crucible while still having his own story to tell and his own messages to send. As such, Abigail/1702 is not only a fitting continuation of the original story, but it also works solidly as a standalone piece.Written by Christian TsoutsouvasSee omnystudio.com/listener for privacy information.

Emma Caldwell was a young woman from a good home who developed an addiction to heroin after the death of her sister and then descended into street prostitution. When her body was found dumped in a ditch in Lanarkshire in May 2005, the police launched an unprecedented murder hunt. But ten years on, after an investigation costing millions of pounds, no one has ever been convicted of her killing. Eamon O Connor investigates what went wrong. Producer: Ian Muir-Cochrane.

Emma Caldwell was a young woman from a good home who developed an addiction to heroin after the death of her sister and then descended into street prostitution. When her body was found dumped in a ditch in Lanarkshire in May 2005, the police launched an unprecedented murder hunt. But ten years on, after an investigation costing millions of pounds, no one has ever been convicted of her killing. Eamon O Connor investigates what went wrong. Producer: Ian Muir-Cochrane.

Once again, a blast from the past. Working with the likes of Trevor Marshall, Andrew "Cueball" Whyatt-Sames, Ros Webb, Emma Caldwell, Wes Venn and Sarah Champion, I was hired to do traffic & travel.....ended up doing a lot more....including killing that damn Crazy Frog!!!