Podcasts about hammet

Episode 401: Rockmore Returns! Bower attempts to name the 4 career-defining songs - prior to their "BLACK" Album - of the thrash metal Godz: METALLICA! Which tracks make the carving and who gets left off…

Bienvenidos a un nuevo episodio de Super Húmano, donde vamos a charlar sobre una gran obra de Tom King y Phil Hester ; Gotham City Año Uno. Un guión de genero, policial noir con ecos de Chandler o Hammet y giros en la historia que sacuden tanto la genealogía de la familia Wayne como la historia de Gotham, ya que son una fuerza indivisible e inseparable. Esperemos que disfruten tanto de escucharlo como nosotros disfrutamos de hacerlo, gracias por escuchar.

Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Compañera · José Alfredo Jiménez, dedicada a mi padre Ángel🖤 Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para aportar lo que tu consideres: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️ "Dedico esta historia a mi padre, quien falleció hace 14 años en el mes de agosto. Él solía cantar la canción 'Compañera' 🖤 Tenía buena voz para las rancheras y las jotas. Por ti, papá 🎙 Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de la "Edad Dorada de los 40" del crimen literario. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí:🚀 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de la "Edad Dorada de los 40" del crimen literario. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí:🚀 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️

En este especial hemos reunido a cuatro escritores norteamericanos que han sido adaptados numerosas veces al cine. Tenemos para empezar al creador de la novela negra, Dashiell Hammet. También a un especialista en cuentos de fantasía y terror como Edgar Allan Poe. La aventura la pondrá Jack London, no solo con sus relatos, sino con su propia vida, llena de experiencias fascinantes. Y terminaremos con un estadounidense con alma de europeo como era Henry James.

Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de "La Edad Dorada de los 40" del crimen literario. Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí: 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para aportar lo que tu consideres: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️

Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de "La Edad Dorada de los 40" del crimen literario. Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí: 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para aportar lo que tu consideres: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de la "Edad Dorada de los 40" del crimen literario. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí:🚀 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de la "Edad Dorada de los 40" del crimen literario. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí:🚀 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️

Dedicamos el mes de agosto íntegramente al maestro Ray Bradbury. A pesar de que Bradbury es más conocido por su ciencia ficción, su estilo en estos cuentos policiales ya mostraba señales de su distintiva prosa poética y su aguda observación de la condición humana. Ray Bradbury siguió durante un tiempo las huellas de Chandler, Hammet y Cain, escribiendo cuentos para revistas como Detective Tales y Dime Mystery Magazine. Sus historias capturan la tensión y el misterio característicos del género policial, mientras que su uso del lenguaje y la atmósfera ya indicaban el talento que lo llevaría a convertirse en una figura central de la literatura fantástica. La recopilación de estas historias (Playlist directa aquí: 🎙https://go.ivoox.com/bk/11047374) te permitirá apreciar cómo los primeros trabajos de Bradbury contribuyeron a su desarrollo como escritor. Estos cuentos no solo son valiosos para los aficionados al género policial, sino también para los seguidores de Bradbury que deseen explorar sus raíces literarias. Los relatos son una muestra de su versatilidad y de la extraña imaginación que lo caracterizaría a lo largo de toda su carrera. Te traigo una joya oculta que revela la profundidad y amplitud de su talento literario, así que, este verano, reservamos un espacio en la nave para el maestro Ray Bradbury con una selección de sus mejores historias de la "Edad Dorada de los 40" del crimen literario. ¡No te lo pierdas y suscríbete a la playlist La Edad dorada de los 40 - Ray Bradbury!https://go.ivoox.com/bk/11047374 Más de Ray Bradbury ·Vendrán lluvias suaves· https://go.ivoox.com/rf/29979463 Cassilda viaja a marte: https://go.ivoox.com/rf/106216843 Ylla, 1999, febrero. Ray Bradbury: https://go.ivoox.com/rf/105943410 Y los siguientes viajes completos aquí: 1. 2001, Enero - Ylla - La enfermedad (continuación de Ylla 1999 Febrero, publicado en este podcast el día 14 de abril) 2. 2002, Octubre (La costa de Marte) 3. 2003, Los Músicos (Abril) 4. 2005, Los Viejos (Agosto) https://go.ivoox.com/rf/105907566 BUEN VIAJE!🚀 Voz y sonido Olga Paraíso, una producción de Historias para ser Leídas. Disponible mi primer libro ❣️"Crónicas Vampíricas de Vera", en Amazon, formato bolsilibro y kindle, ilustraciones de Coquín Artero, maquetado y revisado por mi editora MªReyes Rocío Erebyel. 📕Puedes hacerte con uno aquí: https://amzn.eu/d/8htGfFt Más contenido extra en Instagram, YouTube, WhatsApp, Twitter, y Telegram: 🗒BIO Olga Paraíso: https://instabio.cc/Hleidas Si esta historia te ha cautivado y deseas unirte a nuestro grupo de taberneros galácticos, tienes la oportunidad de contribuir y apoyar mi trabajo desde tan solo 1,49 euros al mes. Al hacerlo, tendrás acceso exclusivo a todos las historias para nuestros mecenas y podrás disfrutar de todas las historias sin interrupciones publicitarias. ¡Agradezco enormemente tu apoyo y tu fidelidad!. 🚀 🖤Aquí te dejo la página directa para apoyarme: 🍻 https://www.ivoox.com/support/552842 🖤📚❤️ Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

In this episode of An Eventful Life, we delve into the remarkable journey of Allie Hammet. We explore how Allie's love for linen and her unwavering passion for event styling led her from her kitchen table to becoming the hottest speed dial sensation for every major event on the calendar.With over 17 years of hard work and dedication, ups, downs and incredible stories from the sewing room and laundry to event venue floor - Allie has not only revolutionised the way we perceive event styling and hospitality standards in events, but has also left an indelible mark on the event industry. Her company, Table Art, is her masterpiece, and it doesn't stop at major events with Table Art servicing over 50 events per week, including weddings. Discover how Allie's direct, honest, and passionate approach has earned her the prestigious title of Australian Event Awards Supplier of the Year. She's the dynamic force that every event team craves, and her success is a testament to her dedication.Join us as Brad and Shane unravel the story of Allie Hammet, and learn how her love of linen and event styling has transformed her into the indispensable professional that event planners, creative directors and teams rely on. Don't miss this heartwarming and inspiring episode of An Eventful Life. Hosted on Acast. See acast.com/privacy for more information.

W tym wydaniu "Czytelni" zagościli dwaj autorzy ze Stanów Zjednoczonych - John Cheever i jego "Wizja świata. Opowiadania wybrane" (tł. Krzysztof Majer) oraz Dashiel Hammet i "Sokół maltański" w nowym tłumaczeniu Tomasza S. Gałązki. O książkach rozmawiali Iwona Rusek i Piotr Kofta.

Lee had me in stiches one minute and dropping knowledge that left me speechless in another. He is super talented and has written TV shows, books based on shows, Films, and including a book series with Janet Evanovich! he put himself through UCLA as a freelance journalist, writing for such publications as American Film, Starlog, Newsweek, The Los Angeles Times Syndicate, The Washington Post and The San Francisco Chronicle (He also wrote erotic letters to the editor for Playgirl at $25-a-letter, but he doesn't tell people about that, he just likes to boast about those "tiffany" credits). He published his first book ".357 Vigilante" (as "Ian Ludlow," so he'd be on the shelf next to Robert Ludlum) while he was still a UCLA student. The West Coast Review of Books called his debut "as stunning as the report of a .357 Magnum, a dynamic premiere effort," singling the book out as "The Best New Paperback Series" of the year. Naturally, the publisher promptly went bankrupt and he never saw a dime in royalties. (But the books are available on the Kindle as "The Jury Series") Welcome to publishing, Lee. His subsequent books include the non-fiction books "Successful Television Writing" and "Unsold Television Pilots" ("The Best Bathroom Reading Ever!" San Francisco Chronicle) as well as the novels "My Gun Has Bullets" ("It will make you cackle like a sitcom laugh track," Entertainment Weekly), "Dead Space" ("Outrageously entertaining," Kirkus Reviews), "Watch Me Die" ("as dark and twisted as anything Hammet or Chandler ever dreamed up," Kirkus Reviews).Goldberg broke into television with a freelance script sale to "Spenser: For Hire." Since then, his TV writing & producing credits have covered a wide variety of genres, including sci-fi (SeaQuest), cop shows (Hunter, The Glades), martial arts (Martial Law), whodunits (Diagnosis Murder, Nero Wolfe), the occult (She-Wolf of London), kid's shows (R.L. Stine's The Nightmare Room), T&A (Baywatch), comedy (Monk) and utter crap (The Highwayman). His TV work has earned him two Edgar Award nominations from the Mystery Writers of America. His two careers, novelist and TV writer, merged when he began writing the "Diagnosis Murder" series of original novels, based on the hit CBS TV mystery that he also wrote and produced, and later wrote the 15 bestselling novels based on "Monk," another show that he worked on. He is co-creator of the hit Hallmark movie series "Mystery 101." He also he teamed up with Janet Evanovich to write the #1 New York Times bestselling Fox & O'Hare novels ("The Heist," "The Chase," "The Job," "The Scam," "The Pursuit"). His most recent books include the thriller "True Fiction" and the police procedural "Lost Hills." But perhaps he's best known for his pioneering work mapping the human genome and negotiating the North American Free Trade Agreement. Goldberg lives in Los Angeles with his wife and his daughter and still sleeps in "Man From UNCLE" pajamas. His latest book is Malibu Burning! Its soo good! leegoldberg.com

Escritor y ensayista argentino, Ricardo Piglia se licenció en Historia en la Universidad de La Plata, trabajando durante un largo tiempo en varias editoriales. Fue profesor de Literatura en la Universidad de Buenos Aires y profesor invitado en varias universidades americanas como Harvard y Princeton. Fue también director de la revista Literatura y Sociedad, realizando asimismo incursiones dentro del mundo del guion cinematográfico. Piglia es autor de ensayos, relatos breves y novelas, caracterizándose en estas últimas por su lirismo. A lo largo de su carrera recibió numerosos premios y galardones como el Planeta de Argentina, el José Donoso, el Rómulo Gallegos, el Hammet de Novela Negra, el Konex o el Formentor de las letras, entre otros. De entre su obra habría que destacar títulos como Jaulario, Blanco nocturno, Respiración artificial o Plata quemada. (Fuente: lecturalia.com)

Celebrating the release of Metallica's new album this Friday we dug into the archives to find a bunch of Metallica stories that are in fact more than we wanted to know.

The Book Leads – Episode 43: Lisa Hammet & From Burnout to Best Life: How To Take Charge Of Your Health & Happiness Because of the nature (and timeliness) of the book, I wanted to read it before our conversation. From Burnout to Best Life really is a manual and tool box of insights, experiences, and exercises to put the knowledge Lisa shares into action. Lisa has lived the burnt-out life. She's used the personal challenges and struggles she endured as the foundation for this book, being open and vulnerable about her own journey. Some highlights from this episode: The power of how the past can shape us. How people look at joy and happiness as a destination, attaching value to the end. The power of mental fitness, shifting to the right brain in the positive right brain for a clear-headed focus, peace, calm, the ability to see the big picture, create great communication and optimal health. In this post I listed some takeaways I gained from Lisa's book: https://www.linkedin.com/posts/jmjaramillo_books-reading-writing-activity-7038539881790238720-3Vp-?utm_source=share&utm_medium=member_desktop The MAIN QUESTION for you, which underlies my conversation with Lisa is, how are you taking care of yourself in the everyday to avoid burn out, preparing in advance of when you meet that challenge? SHARE BELOW! Bio: Lisa Hammett is the international best-selling author of From Burnout to Best Life, a TEDx speaker, and a Success Coach, helping stressed and burned out business owners and executives develop mental fitness to manage stress and get healthy. After 26 years in the corporate retail sector, she reached burnout. Upon leaving the industry she lost 65 pounds and became a Wellness Coach for one of the largest global weight loss companies. For the past 11 years she has helped thousands of members develop sustainable healthy habits to lose weight and get healthy. In May of 2020 she started her Success Coaching practice, incorporating Life Coaching. She is currently working on her Positive Intelligence certification. Learn more about Lisa and her work: · The book: https://www.amazon.com/Burnout-Best-Life-charge-happiness/dp/1667866508/ref=sr_1_1?crid=3KWYWRUERVMDM&keywords=from+burnout+to+best+life&qid=1678805435&sprefix=from+burnout+to+best+life%2Caps%2C96&sr=8-1 · https://www.youtube.com/channel/UChGQY8WAdQsQnGlFRlIoEbA · https://www.facebook.com/healthylivinglisahammett · https://www.instagram.com/lisa.hammett/ · https://twitter.com/lisahammett Watch the episode on YouTube: https://lnkd.in/ey_KTZe Learn more about The Book Leads: https://lnkd.in/eFb76ck

O METALLICA alcançou um sucesso gigantesco depois de inovar a própria sonoridade com o seu "black album", em 1991. A partir daí, a banda resolveu dobrar a aposta e fazer novas experimentação no controverso LOAD, de 1996. Tracklist: 1. "Ain't My Bitch" Hetfield, Ulrich 2. "2 X 4" Hetfield, Ulrich, Hammet 3. "The House Jack Built" Hetfield, Ulrich, Hammet 4. "Until It Sleeps" Hetfield, Ulrich 5. "King Nothing" Hetfield, Ulrich, Hammet 6. "Hero of the Day" Hetfield, Ulrich, Hammet 7. "Bleeding Me" Hetfield, Ulrich, Hammet 8. "Cure" Hetfield, Ulrich 9. "Poor Twisted Me" Hetfield, Ulrich 10. "Wasting My Hate" Hetfield, Ulrich, Hammet 11. "Mama Said" Hetfield, Ulrich 12. "Thorn Within" Hetfield, Ulrich, Hammet 13. "Ronnie" Hetfield, Ulrich 14. "The Outlaw Torn" Hetfield, Ulrich Formação: James Hetfield - guitarra e vocal Lars Ulrich - bateria Kirk Hammett - guitarra Jason Newsted - baixo Então, convidamos Claudio Borges para tomar uma e falar sobre todas as faixas do LOAD, do METALLICA! #metallica #review #resenha ******************************************** SEJA MEMBRO DO CLUBE TUPFS E TENHA ACESSO A UMA SÉRIE DE VANTAGENS! Você pode escolher um dos planos abaixo: HEADBANGER (R$ 1,99 por mês) Seu nome divulgado durante os vídeos, selo de fidelidade ao lado do seu nome sempre que deixar um comentário e emojis exclusivos! ROCKSTAR (R$ 7,99 por mês) Além dos benefícios anteriores, você terá acesso ao nosso ao grupo exclusivo no WhatsApp, pode dar nota nas resenhas e participar das listening parties, que viram podcast! METAL GOD (R$ 24,99 por mês) Além de todos os benefícios anteriores e dar uma grande ajuda financeira para a nossa criação de conteúdo, você terá acesso antecipado aos vídeos do canal, vídeos exclusivos, vai poder escolher tema de episódio, deixar perguntas para as entrevistas e participar de vídeos e lives. Também terá prioridade em brindes e descontos no merchandising do canal, quando disponíveis! SEJA MEMBRO: https://www.youtube.com/channel/UCo1lgalkCBW9Uv3GyrzhhkA/join ******************************************** Nos siga nas redes sociais: Twitter: @iurimoreira / @rafael2099 Instagram: @iurimoreira / rafaelaraujo2099

Kadu Hammet

To continue hour two of this Thursday edition of The Jon Chuckery Show live from Top Golf in Midtown, Jon talks about the PGA Championship with the Vice Chairman of the Tour Championship, Trey Hammet! Jon and Trey talk about the PGA Championship going on in Atlanta this weekend, the growth and importance of the PGA Championship at the historic Eastlake Golf course in Atlanta, the underrated golf culture in the state of Georgia, and more!

Brandon and Chris had the pleasure of hosting Tyler Hammet on Episode 6 of The Higher Purpose Podcast. Tyler was a professional basketball player and was Brandon's mentor at Metabolic. Tyler currently owns his own online business "Nourish With Ty" where he helps people with their Fitness, Nutrition, Mobility, Mindfulness practices and more. Overall Health and Wellness is something Ty is extremely passionate about and the guys deep dive into what that fully entails and all of the practices you can implement to start living your highest quality of life today.

There's rumours of a ghostly presence around Euston Station although Bobby has never seen him, but with such history in the place how could Edmund Morey not have some sort of attachment to the place he founded.We hear more from Bobby in this week's Mildura Living feature and talk to Toni & Sharyn about the new Robinvale Euston tea towels and Mildura Hamper Co which uses all local ingredients and a perfect way to showcase our region to people this Christmas.Tom Lister is first cab off the rank though as there are nerves aplenty approaching the first home game of the Robinvale Euston Cricket Club. Not because they're concerned about the result, but just because with all of this rain, the carefully renovated and curated pitch may be too wet to play on.Patience boys, it's a virtue.If you'd like to support this podcast, become a VIP at patreon.com/thevalepodcast

Fernanda Melchor nació en Veracruz, México, en 1982. Es periodista y escritora, destacada cronista de su generación y, a partir del éxito internacional de su novela Temporada de huracanes, una de las grandes referentes de la literatura latinoamericana escrita por mujeres, que comienza a leerse en otras lenguas en el mundo. Acaba de publicarse Paradais, una nueva novela de Melchor, cuyos protagonistas son dos jóvenes adultos inadaptados. Franco es un chico obeso y completamente excluido de las bandas de la clase alta a la que pertenece, y está obsesionado sexualmente con una vecina mayor. El otro es Polo, un chico de clase baja que trabaja de jardinero en el complejo residencial de lujo donde vive Franco y que, aunque en un comienzo lo rechaza, termina aceptando sus invitaciones a juntarse por las noches para compartir frustraciones y fantasías. El ciclo de sus encuentros, entre el alcohol, los deseos truncados y el resentimiento, va camino hacia una espiral de violencia inusitada y escalofriante, que Melchor narra con maestría. En la sección Libros que sí, Hinde recomendó “Yoga”, de Emmanuel Carrere y “Así hablaba mi madre”, de Rachid Benzine. En voz alta, el docente y crítico de teatro Jorge Dubatti leyó un fragmento de “El teatro de la muerte” de Tadeusz Kantor y en Te regalo un libro, la escritora Cecilia Sorrentino habló de “Hammet” de Hammet” de Maggie O´Farrell.

Bienvenidos a este especial de novela negra y tipos duros con sombrero La novela negra no es un género al que le dediquemos demasiado tiempo en divergencia cero, pero sí que hemos tenido algunos ejemplos de la misma a lo largo de los últimos dos años de programa… al menos los suficientes como para dedicarles este especial de tres horas. Y es que aunque el podcast se centre más en el relato de horror, misterio o suspense, he de confesar que mi género preferido, junto a la ciencia ficción, es el policiaco, y en concreto el policiacio clásico: por un lado las novelas ordenadas, pulcras tan british de Arthur Conand Doyle y Agatha Christie; y por el otro lado, por el lado americano, el cinismo de Raymond Chandler, la sequedad de Hammet o el ojo certero para las emociones humanas de Patricia Highsmith. El propio Stephen King se considera heredero de aquellas historias que publicaba la revista pulp Black Mask y que leía de crío, y no pocos de sus relatos fueron escritos con la idea de ser publicados en revista de género policiaco, como la Ellery Queen’s Mystery Magazine… cuya relación con “El hombre divergente” y por tanto con este podcast os contaré otro día. A mí me pasa un poco lo mismo que a King, salvando las distancias, vaya. Reconozco que mis grandes influencias, además del maestro de Maine, tienen más que ver con Chandler, Hammet y Highsmith más que con ningún otro. Siempre pendiente con el “MUESTRA, NO CUENTES”. Y en el primer relato de hoy encontramos un gran ejemplo de este “Show, don’t tell”. Se trata de “TE ESTARÉ ESPERANDO”, de RAYMOND CHANDLER. Cuando lo escuchéis notaréis que no habla de emociones en ningún momento. El narrador no nos cuenta cómo se siente un personaje o se siente otro. Pero sí nos da las claves para que nosotros lo deduzcamos en todo momento: que el protagonista se ha enamorado de la chica, que va a traicionar a alguien, su relación con su hermano. Que el protagonista es un tipo culto, mientras que su hermano es un gañán… Todo eso se muestra, en el relato. No se dice sin más. Tras esta historia de Raymond Chandler, pasaremos a “COLMENA”, de Ismael Martínez Biurrun. Ismael es uno de los mejores escritores de terror y fantasía oscura que tenemos en España. Ganador de múltiples premios literarios, no puedo menos que recomendaros sus novelas. Algunas de ellas, las podéis encontrar en Amazon, ya que el autor recuperó los derechos de la editorial que los tenía y decidió ponerlas a disposición de sus lectores en esa tienda online. Os recomiendo “El escondite de Grisha” y “Mujer abrazada a un cuervo”, de las novelas que tiene colgadas en Amazon. Y si no os recomiendo las tres es porque la tercera no la he leído aún y jamás os recomendaría nada que no hubiera leído. “COLMENA” es uno de los relatos que Ismael me ha cedido para el podcast. El caso de una investigación muy peculiar, muy a lo Expediente X. Estoy seguro de que os gustará. Y para terminar, “LA FOTO QUE FALTABA”, el primer y único capítulo que grabé para LA CUEVA. LA CUEVA era un espacio reservado para relatos diferentes, apartados de la tónica general del podcast. Historias supuestamente reales narrados por el dueño del pub secreto llamado “LA CUEVA”. Los invitados, supuestamente, deberían llamar a la puerta, bajar las escaleras e invitar a una copa al anfitrión. El anfitrión tendría los ojos vendados. Algún día volveré a “LA CUEVA”, pero mientras lo hago, “LA FOTO QUE FALTABA” es un antiguo relato mío, de mis años de universidad. Y como veréis en él, la sombra de Raymond Chandler es alargada… Espero que disfrutéis escuchando este especial de Novela Negra y TIOS DUROS CON SOMBRERO tanto como he disfrutado yo grabándolo. Recordad, por favor por favor por favor… pulsar en el botón de me gusta, en el corazón de iVoox y suscribiros al podcast. Cada día somos más, y eso está bien. Cuantos más seamos, más nos reiremos. omo os comento en el audio, podéis encontrar mis relatos (y más) en mi antología EL HOMBRE DIVERGENTE: https://www.amazon.es/dp/B006IYW9VU/ref=cm_sw_r_tw_dp_EHT05F30NRBYBATET7FN La tenéis en Amazon en papel y digital, como veréis si pulsáis en el enlace. Te invito a visitar mi página de autor en Amazon, donde encontrarás todos mis libros: https://amzn.to/3pHJkhH O directamente la página de mi último libro: MALAS INFLUENCIAS: https://amzn.to/36CUVH4 Mi twitter: @marcrsoto ¡Nos vemos pronto!

Bone Canyon by Lee Goldberg Interview A cold case heats up, revealing a deadly conspiracy in a twisty thriller by #1 New York Times bestselling author Lee Goldberg. A catastrophic wildfire scorches the Santa Monica Mountains, exposing the charred remains of a woman who disappeared years ago. The investigation is assigned to Eve Ronin, the youngest homicide detective in the Los Angeles County Sheriff’s Department, a position that forces her to prove herself again and again. This time, though, she has much more to prove. Bones don’t lie, and these have a horrific story to tell. Eve tirelessly digs into the past, unearthing dark secrets that reveal nothing about the case is as it seems. With almost no one she can trust, her relentless pursuit of justice for the forgotten dead could put Eve’s own life in peril. About Lee Goldberg #1 New York Times Bestselling Author Lee Goldberg is an ex-Navy SEAL, nuclear physicist and a professional Daniel Craig impersonator. Okay, that's not true. But he wants this biography to be really exciting, so pay attention. If things bog down, I've been instructed to add a car chase or some explicit sex. Here's the real story. Lee Goldberg writes books and television shows. His mother wanted him to be a doctor, and his grandfather wanted him to go into the family furniture business. Instead, he put himself through UCLA as a freelance journalist, writing for such publications as American Film, Starlog, Newsweek, The Los Angeles Times Syndicate, The Washington Post and The San Francisco Chronicle (He also wrote erotic letters to the editor for Playgirl at $25-a-letter, but he doesn't tell people about that, he just likes to boast about those "tiffany" credits). He published his first book ".357 Vigilante" (as "Ian Ludlow," so he'd be on the shelf next to Robert Ludlum) while he was still a UCLA student. The West Coast Review of Books called his debut "as stunning as the report of a .357 Magnum, a dynamic premiere effort," singling the book out as "The Best New Paperback Series" of the year. Naturally, the publisher promptly went bankrupt and he never saw a dime in royalties. (But the books are available on the Kindle as "The Jury Series") Welcome to publishing, Lee. His subsequent books include the non-fiction books "Successful Television Writing" and "Unsold Television Pilots" ("The Best Bathroom Reading Ever!" San Francisco Chronicle) as well as the novels "My Gun Has Bullets" ("It will make you cackle like a sitcom laugh track," Entertainment Weekly), "Dead Space" ("Outrageously entertaining," Kirkus Reviews), "Watch Me Die" ("as dark and twisted as anything Hammet or Chandler ever dreamed up," Kirkus Reviews). "Take me now," she moaned, "you hot writer stud." She tore off her clothes and tackled him onto the floor, unable to control her raging lust. Nothing excited her more than being around a writer with a big list of books. Got your attention again? Good. I don't know about you, but I was starting to nod off. Where was I? Oh yes... Goldberg broke into television with a freelance script sale to "Spenser: For Hire." Since then, his TV writing & producing credits have covered a wide variety of genres, including sci-fi (SeaQuest), cop shows (Hunter, The Glades), martial arts (Martial Law), whodunits (Diagnosis Murder, Nero Wolfe), the occult (She-Wolf of London), kid's shows (R.L. Stine's The Nightmare Room), T&A (Baywatch), comedy (Monk) and utter crap (The Highwayman). His TV work has earned him two Edgar Award nominations from the Mystery Writers of America. His two careers, novelist and TV writer, merged when he began writing the "Diagnosis Murder" series of original novels, based on the hit CBS TV mystery that he also wrote and produced, and later wrote the 15 bestselling novels based on "Monk," another show that he worked on. He is co-creator of the hit Hallmark movie series "Mystery 101." He also he teamed up with Janet Evanovich to wr...

Our first podcast!  Clint Davis talks with Cassie Hammet, Founder of the Hub: Urban ministry about Human Trafficking, trauma, and how to join the fight.

Kansas lawmakers sped through dozens of bills this past week to keep them alive past a “turn around” deadline marking the midpoint of the session. Measures to legalize sports betting and to give citizens more control over property taxes were among bills that made the cut. Still, many of the biggest issues remain for lawmakers to tackle in the session’s final months. Among them, Medicaid expansion and a constitutional amendment that supporters say is needed to preserve the state’s ability to regulate abortion. Republicans may also resume their push for tax cuts despite Democratic Gov. Laura Kelly’s warning of a likely veto. Host Jim McLean covers those issues with Kansas News Service Statehouse reporter Stephen Koranda and Republican Sen. Molly Baumgardner on this week’s podcast. He also chats with Davis Hammett about his efforts get young Kansans more involved in politics and their government. Hammet is president of Loud Light .

John Huston's directorial debut hits the Mazan Movie Club and first time viewer Actor Matt McDonald joins Corporate Comedian Steve Mazan to discuss everything about "The Maltese Falcon" Is this the most influential movie ever? Is Mary Astor too old for Bogie? Where is the Maltese Falcon now? What does Pee Wee Herman have to do with it? How were the gay characters subtly (or not so) portrayed? Can we all laugh like Sydney Greenstreet? "The Maltese Falcon" on IMDb Home of the Mazan Movie Club Steve Mazan on Instagram Home of Corporate Comedian Steve Mazan

New year same game. Prick your ears up at this morsel. BRICK. High school noir, ya dig? Rian Johnson's big debut and everyone was there for the ball. Joseph Gordon-Levitt. Emilie de Ravin. Lukas Haas. Names. Faces. Clues. You with me? Then let's dance. A lot of folks have it out for Johnson for mucking up their space stories. But word is his "Knives Out' is a sharp number. The question is, does "Brick" stack up as evidence of his filmmaking mastery? Or does it reveal him for nothing better than a genre-mashing hack? Listen, subscribe and rate us on Apple Podcasts, Spotify or Stitcher! Also, you can also support us by either contributing Patreon campaign, or by buying Rewatchability t-shirts from TeePublic!    

Due to plans with our guest falling through you get an extra dose of us on this really short episode! Great stories in the news like guitar thieves, Bush's strange new album claim, and Hammet's wah pedal finally had enough of his shit! We review Kyle Shutt's new self titled solo album and wrap it up with a Sonic Temple Music Festival related game of Would You Rather. Also we have tickets to a new huge festival to give away! Huge thanks to Kyle Shutt for letting us use his song (once again) I Cant Dance off of the previously mentioned solo album out now! https://www.indiemerch.com/kyleshutt A final thanks to Sonic Temple for providing the tickets for us to give away. If you're going, let us know! Eargasm: use our link to support the show http://bit.ly/2tSzIFg    Sonic Temple Music and Art Festival: Tickets: https://fgtix.to/2CRVkpq  Website: https://sonictemplefestival.com/ Our links: EOS Shirts: https://www.amazon.com/s/ref=nb_sb_ss_i_1_12?url=search-alias%3Daps&field-keywords=epitome+of+stupidity&sprefix=epitome+of+s%2Caps%2C259&crid=1RPDPVN9ERVVL Twitter: https://twitter.com/EpitomeOfStupi2  Facebook: https://www.facebook.com/eostupidity/  Spotify: https://open.spotify.com/show/0iHtaHBc3RSy1F9CcTFcVR?si=2ogjaZ_wRY2tRuR7_b-gkQ  Stitcher  https://www.stitcher.com/podcast/epitome-of-stupidity Itunes: https://itunes.apple.com/us/podcast/epitome-of-stupidity/id1378020561  Google: https://play.google.com/music/m/Ihwjqwbrhdaehlbmb5lvbqvowfa?t=Epitome_Of_Stupidity_Allegedly_A_Metal_Music_Podcast Email: EOStupidity@gmail.com

Hoy hablamos de literatura e intercambiamos pareceres sobre nuestras últimas lecturas: libros de Borges, Unamuno, Hammet, Esquilo, Ferlosio, el último premio Herralde de novela, etc. Intervienen: Pelayo Puente Márquez (director interino), Laura Palacio Río y Andrés Martínez Morán. Si tienes la cinefilia por castigo, suscríbete a FILMIN con nosotros y recibe ¡dos meses del mejor cine por el precio de uno! Solo tienes que pinchar en este enlace: https://www.filmin.es/landings/latrinchera

    Welcome to episode eight of A History of Rock Music in Five Hundred Songs. Today we're looking at Fats Domino and "The Fat Man". Click the full post to read liner notes, links to more information, and a transcript of the episode. ----more---- A couple of notes: This one originally ran very long, so I've had to edit it down rather ruthlessly -- I know one of the things people like about this podcast is that it only takes half an hour. I also had some technical issues, so you might notice a slight change in audio quality at one point. I think I know what caused the problem, and it shouldn't affect any other episodes. Also, this episode is the first episode to discuss someone who's still alive -- we're now getting into the realm of living memory, as Dave Bartholomew is still alive, aged ninety-nine -- and I hope he'll be around for many more years. Resources As always, I've created a Mixcloud streaming playlist with full versions of all the songs in the episode. The Mixcloud, in fact, was created before I edited this one down, and so contains one song -- "Junko Partner" by Dr. John -- that doesn't appear in the finished podcast. But it's a good song anyway. Fats Domino's forties and fifties music is now all in the public domain, so there are all sorts of cheap compilations available. However, the best one is actually one that was released when some of the music was still in copyright -- a four-CD box set called They Call Me The Fat Man: The Legendary Imperial Recordings. We'll be talking a lot about Fats in the coming months, and there's a reason for that -- his music is among the best of his era. The performance of the Gottschalk piece, "Danza", I excerpted is from a CD of performances by Frank French of Gottschalk's piano work. I recommend it to anyone who is interested in the development of American music. I first learned about Gottschalk from his influence on another great Louisiana-raised pianist, Van Dyke Parks, and Parks has excellent orchestral arrangements of Gottschalk's "Danza" and "Night in the Tropics" on his Moonlighting: Live at the Ash Grove album. I talk early on about The Sound of the City by Charlie Gillett. I recommend that book to anyone who's interested in 50s and 60s rock and roll, though it's dated in some respects (most notably, it uses the word "Negro" thoughout -- at the time, that was the word that black people considered the most appropriate to describe them, though now it's very much looked upon as inappropriate). The only biography of Fats Domino I know of is Rick Coleman's Blue Monday: Fats Domino and the Lost Dawn of Rock 'n' Roll. It's a very good book, though I don't totally buy Coleman's argument that the rhythms in New Orleans music come directly from African drumming. The recording of "New Orleans Blues" by Jelly Roll Morton is from a cheap compilation called Doctor Jazz (100 Original Tracks) -- it's labelled "New Orleans Joys" there, but it's clearly the same song as "New Orleans Blues", which appears in a different recording under that name on the same set. That set also has Morton being interviewed and talking about the "Spanish tinge". The precise set I have seems no longer to be available, but this looks very similar. And finally, the intro to this episode comes, of course, from the Fat Man radio show, episodes of which can be found in a collection along with The Thin Man here. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript In his 1970 book The Sound of the City, which was the first attempt at a really serious history of rock and roll, Charlie Gillett also makes the first attempt at a serious typology of the music. He identifies five different styles of music, all of them very different, which loosely got lumped together (in much the same way that country and western or rhythm and blues had) and labelled rock and roll.   The five styles he identifies are Northern band rock and roll -- people like Bill Haley, whose music came from Western Swing; Memphis country rock -- the music we normally talk about as rockabilly; Chicago rhythm and blues -- Chuck Berry and Bo Diddley; what he calls "vocal group rock and roll" but which is now better known as doo-wop; and New Orleans dance blues. I'd add a sixth genre to go in the mix, which is the coastal jump bands -- people like Johnny Otis and Lucky Millinder, based in the big entertainment centres of LA and New York.   So far, we've talked about the coastal jump bands, and about precursors to the Northern bands, doo-wop, and rockabilly. We haven't yet talked about New Orleans dance blues though. So let's take a trip down the Mississippi.   We can trace New Orleans' importance in music back at least to the early nineteenth century, and to the first truly great American composer, Louis Moreau Gottschalk.   Gottschalk was considered, in his life, an unimportant composer, just another Romantic -- Mark Twain made fun of his style, and he was largely forgotten for decades after his early death. When he was remembered, if at all, it was as a performer -- he was considered the greatest pianist of his generation, a flashy showman of the keyboard, who could make it do things no-one else could. But listen to this:   [Excerpt of "Danza"]   That's a piece composed by someone who knew Chopin and Liszt. Someone who was writing so long ago he *taught someone* who played for Abraham Lincoln. Yet it sounds astonishingly up to date. It sounds like it could easily come from the 1920s or 1930s.   And the reason it sounds so advanced, and so modern, is that Gottschalk was the first person to put New Orleans music into some sort of permanent form.   We don't know -- we can't know -- how much of later New Orleans music was inspired by Gottschalk, and how much of Gottschalk was him copying the music he heard growing up. Undoubtedly there is an element of both -- we know, for example, that Jelly Roll Morton, who was credited (mostly by himself, it has to be said) as the inventor of jazz, knew Gottschalk's work. But we also know that Gottschalk knew and incorporated folk melodies he heard in New Orleans.   And that music had a lot of influences from a lot of different places. There were the slave songs, of course, but also the music that came up from the Caribbean because of New Orleans' status as a port city. And after the Civil War there was also the additional factor of the brass band music -- all those brass instruments that had been made for the military, suddenly no longer needed for a war, and available cheap.   Gottschalk himself was almost the epitome of a romantic -- he wrote pieces called things like "the Dying Poet", he was first exiled from his home in the South due to his support for the North in the Civil War and then later had to leave the US altogether and move to South America after a scandalous affair with a student, and he eventually contracted yellow fever and collapsed on stage shortly after playing a piece called Morte! (with an exclamation mark) which is Portuguese for "death". He never recovered from his collapse, and died three weeks later of a quinine overdose.   So as well as presaging the music of the twentieth century, Gottschalk also presaged the careers of many twentieth-century musicians. Truly ahead of his time.   But by the middle of the twentieth century, time had caught up to him, and New Orleans had repeatedly revolutionised popular music, often with many of the same techniques that Gottschalk had used.   In particular, New Orleans became known for its piano virtuosos. We'll undoubtedly cover several of them over the course of this series, but anyone with a love for the piano in popular music knows about the piano professors of New Orleans, and to an extent of Louisiana more widely. Jelly Roll Morton, Professor Longhair, James Booker, Allen Toussaint, Huey "Piano" Smith... it's in the piano that New Orleans music has always come into its own.   And if there's one song that sums up New Orleans music, more than any other, it's "Junker's Blues". You've probably not heard that name before, but you've almost certainly heard the melody:   [section of "Junker's Blues" as played by Champion Jack Dupree]   That's Champion Jack Dupree, in 1940, playing the song. That's the first known recording of it, and Dupree claims songwriting credit on the label, but it was actually written by a New Orleans piano player, Drive-Em Down Hall, some time in the 1920s. Dupree heard the song from Hall, who also apparently taught Dupree his piano style.   "Junker's Blues" itself never became a well-known song, but its melody was reused over and over again. Most famously there was the Lloyd Price song "Lawdy Miss Clawdy", which we're going to be devoting a full episode to soon, but there was also "Tipitina" by Professor Longhair...   [section of "Tipitina"]   "Tee Nah Nah"   ["Tee Nah Nah" -- Smiley Lewis]   And more. This one melody, by a long-dead unknown New Orleans piano player, has been performed under various names and with different sets of lyrics, by everyone from the Clash to the zydeco accordion player Clifton Chenier, by way of Elvis, Doctor John, and even Hugh Laurie.   But the most important recording of it was in 1949, by a New Orleans piano player called Fats Domino. And in his version, it became one of those songs that is often considered to be "the first rock and roll record".   Fats Domino was not someone who could have become a rock star even a few years later. He was not mean and moody and slim, he was a big cheerful fat man, who spoke Louisiana Creole as his first language. He was never going to be a sex symbol. But he had a way of performing that made people happy, and made them want to dance, and in 1949 that was the most important thing for a musician to do.   He grew up in a kind of poverty that's hard to imagine now -- his family *did* have a record player, but it was a wind-up one, not an electrical one, and eventually the winding string broke, but young Antoine Domino loved music so much that he would sit at the record player and manually turn the records using his finger so he could still listen to them.   By 1949, Domino had become a minor celebrity among black music fans in New Orleans, more for his piano playing than for his singing. He was known as one of the best boogie woogie players around, with a unique style based on triplets rather than the more straightforward rhythms many boogie pianists used. He'd played, for example, with Roy Brown, although Domino and his entire band got dropped by Brown after Domino sang a few numbers on stage himself during a show -- Brown said he was only paying Domino to play piano, not to sing and upstage him.   But minor celebrities in local music scenes are still only minor celebrities -- and at aged twenty-one Fats Domino already had a family, and was living in a room in his in-laws' house with his wife and kids, working a day job at a mattress factory, and working a second job selling crushed ice with syrup to kids, to try to make ends meet. Piano playing wasn't exactly a way to make it rich, unless you got on records.   Someone who *had* made records, and was the biggest musician in New Orleans at the time, was Dave Bartholomew; and Bartholomew, who was working for Imperial Records, suggested that the label sign Domino.   Like many musicians in New Orleans in the late forties, Dave Bartholomew learned his musical skills while he was in the Army during World War II -- he'd already been able to play the trumpet, having been taught by the same man who taught Louis Armstrong, but once he was put into a military brass band he had to learn more formal musical skills, including writing and arranging.   After getting out of the army, he got work as an A&R man for Imperial Records, and he also formed his own band, the Dave Bartholomew Orchestra, who had a hit with "Country Boy"   [excerpt of "Country Boy" by the Dave Bartholomew Orchestra]   Now, something you may notice about that song is that "dan, dah-dah" horn part. That may sound absolutely cliched to you now, but that was the first time anything like that had been used in an R&B record. And we can link that horn part back to the Gottschalk piece we heard earlier by its use of a rhythm called the tresillo (pronounced tray heel oh). The tresillo is one of a variety of related rhythms that are all known as "habanera" rhythms. That word means "from Havana", and was used to describe any music that was influenced by the dance music -- Danzas, like the title of the Gottschalk piece -- coming out of Cuba in the mid nineteenth century.   The other major rhythm that came from the habanera is the clave, which is a two-bar rhythm. The first bar is a tresilo, and the second is just a "bam bam" [demonstrates]. That beat is one we'll be seeing a lot of in the future.   These rhythms were the basis of the original tango -- which didn't have the beat that we now associate with the tango, but instead had that "dan, dah-dah" rhythm (or rhythms like it, like the cinquillo). And through Gottschalk and people like him -- French-speaking Creole people living in New Orleans -- that rhythm entered New Orleans music generally. Jelly Roll Morton called it the "Spanish tinge". Have a listen, for example, to Jelly Roll's "New Orleans Blues":   [excerpt "New Orleans Blues" by Jelly Roll Morton]   Jelly Roll claimed to have written that as early as 1902, and the first recording of it was in 1923. It's the tresillo rhythm underpinning it. From Gottschalk, to Jelly Roll Morton, to Dave Bartholomew. That was the sound of New Orleans, travelling across the generations.   But what really made that rhythm interesting was when you put that "dah dah dah" up against something else -- on those early compositions, you have that rhythm as the main pulse, but by the time Dave Bartholomew was doing it -- and he seems to have been the first one to do this -- that rhythm was put against drums playing a shuffle or a backbeat. The combination of these pulses rubbing up against each other is what gave New Orleans R&B its special flavour.   I'm going to try to explain how this works, and to do that I'm going to double-track myself to show those rhythms rubbing against each other.   You have the backbeat, which we've talked about before -- "one TWO three FOUR" -- emphasising the second and fourth beats of the bar, like that.   And you have the tresillo, which is "ONE-and-two-AND-three-and-FOUR-and" -- emphasising the first, a beat half-way between the two and the three, and the fourth beat. Again, "ONE-and-two-AND-three-and-FOUR-and".   You put those two together, and you get something that sounds like this:   [excerpt -- recording of me demonstrating the two rhythms going up against each other]   That habanera-backbeat combination is something that, as far as I can tell, Dave Bartholomew and the musicians who worked with him were the first ones to put together (and now I've said that someone will come up with some example from 1870 or something).   The musicians on "Country Boy" were ones that Bartholomew would continue to employ for many years on all the sessions he produced, and in particular they included the drummer Earl Palmer, who was bar none the greatest drummer working in America at that time.   Earl Palmer has been claimed as the first person to use the word "funky" to describe music, and he was certainly a funky player. He was also an *extraordinarily* precise timekeeper. There's a legend told about him at multiple sessions that in the studio, after a take that lasted, say, three minutes twenty, the producer might say to the band "can we have it a little faster, say two seconds shorter?"   Palmer would then pretend to "wind up" his leg, like a clock, count out the new tempo, and the next take would come in at three minutes eighteen, dead on. That's the kind of story that's hard to believe, but it's been told about him by multiple people, so it might just be true.   Either way, Earl Palmer was the tightest, funkiest, just plain best drummer working in the US in 1949, and for many years afterwards. And he was the drummer in the band of session musicians who Dave Bartholomew put together. That band were centred around Cosimo Matassa's studio, J&M, in Louisiana, which would become one of the most important places in the history of this new music.   Cosimo Matassa was one of many Italian-American or Jewish people who got in at the very early stages of rock and roll, when it was still a predominantly black music, and acted as a connection between the black and white communities, usually in some back-room capacity. In Matassa's case, it was as an engineer and studio owner. We've actually already heard one record made by him, last week -- Roy Brown's "Good Rockin' Tonight", which he recorded with Matassa in 1947. "Good Rockin' Tonight" was made in New Orleans, and engineered by the man most responsible for recording the New Orleans sound, but in other respects it doesn't have that New Orleans sound to it -- it's of the type we're referring to as coastal jump band music. It's music recorded *in* New Orleans, but not music *of* New Orleans. But the records that Matassa would go on to engineer with Dave Bartholomew and his band, and with other musicians of their type, would be the quintessential New Orleans records that still, seventy years on, sum up the sound of that city.   Matassa's studio was tiny -- it was in the back room of his family's appliance store, which also had a bookmaker's upstairs and a shoeshine boy operating outside the studio door. Matassa himself had no training in record production -- he'd been a chemistry student until he dropped out of university, aged eighteen, and set up the studio, which was laughably rudimentary by today's standards. He had a three-channel mixer, and they didn't record to tape but directly to disc. They had two disc cutters plugged into the mixer. One of them would cut a safety copy, which they could listen to to see if it sounded OK, while the other would be cutting the master.   To explain why this is, I should probably explain how records were actually made, at least back then. A disc cutter is essentially a record player in reverse. It uses a stylus to cut a groove into a disc made of some soft material, which is called the master -- the groove is cut by the vibrations of the stylus as the music goes through it. Then, a mould, called the mother, is made of the master -- it's a pure negative copy, so that instead of a groove, it has a ridge. That mother is then used to stamp out as many copies as possible of the record before it wears out -- at which point, you create a new mother from the original master.   They had two disc cutters, and during a recording session someone's job would be to stand by them and catch the wax they cut out of the discs before it dropped on to the floor -- by this point, most professional studios, if they were using disc cutters at all, were using acetate discs, which are slightly more robust, but apparently J&M were still using wax.   A wax master couldn't be played without the needle causing so much damage it couldn't be used as a master, so you had two choices -- you could either get the master made into a mother, and then use the mother to stamp out copies, and just hope they sounded OK, or you could run two disc cutters simultaneously. Then you'd be able to play one of them -- destroying it in the process -- to check that it sounded OK, and be pretty confident that the other disc, which had been cut from the same signal, would sound the same.   To record like this, mixing directly onto wax with no tape effects or any way to change anything, you needed a great engineer with a great feel for music, a great room with a wonderful room sound, and fantastic musicians.   Truth be told, the J&M studio didn't have a great room sound at all. It was too small and acoustically dead, and the record companies who received the masters and released them would often end up adding echo after the fact.   But what they did have was a great engineer in Matassa, and a great bandleader in Dave Bartholomew, and the band he put together for Fats Domino's first record would largely work together for the next few years, creating some of the greatest rock and roll music ever made.   Domino had a few tunes that would always get the audiences going, and one of them was "Junker's Blues". Dave Bartholomew wanted him to record that, but it was felt that the lyrics weren't quite suitable for the radio, what with them being pretty much entirely about heroin and cocaine.   But then Bartholomew got inspired, by a radio show. "The Fat Man" was a spinoff from The Thin Man, a radio series based on the Dashiel Hammet novel. (Hammet was credited as the creator of "The Fat Man", too, but he seems to have had almost nothing to do with it). The series featured a detective who weighed two hundred and thirty seven pounds, and was popular enough that it got its own film version in 1951. But back in 1949 Dave Bartholomew heard the show and realised that he could capitalise on the popular title, and tie it in to his fat singer. So instead of "they call me a junker, because I'm loaded all the time", Domino sang "they call me the fat man, 'cos I weigh two hundred pounds".   Now, "The Fat Man" actually doesn't have that tresillo rhythm in much of the record. There are odd parts where the bass plays it, but the bass player (who it's *really* difficult to hear anyway, because of the poor sound quality of the recording) seems to switch between playing a tresillo, playing normal boogie basslines, and playing just four root notes as crotchets. But it does, definitely, have that "Spanish tinge" that Jelly Roll Morton talked about. You listen to this record, and you have no doubt whatsoever that this is a New Orleans musician. It's music that absolutely couldn't come from anywhere else.   [Excerpt from "The Fat Man"]   Domino's scatted vocals here are very reminiscent of the Mills Brothers -- there's a similarity in his trumpet imitation which I've not seen anyone pick up on, but is very real. On later records, there'd be a saxophone solo doing much the same kind of thing -- Domino's later records almost all featured a tenor sax solo, roughly two thirds of the way through the record -- but in this case it's Domino's own voice doing the job.   And while this recording doesn't have the rhythmic sophistication of the later records that Domino and Bartholomew would make, it's definitely a step towards what would become their eventual sound. You'd have Earl Palmer on drums playing a simple backbeat, and then over that you'd lay the bass playing a tresillo rhythm, and then over *that* you'd lay a horn riff, going across both those other rhythms, and then over *that* you'd lay Domino's piano, playing fast triplets. You can dance to all of the beats, all of them are keeping time with each other and going in the same 4/4 bars, but what they're not doing is playing the same thing -- there's an astonishing complexity there.   Bartholomew's lyrics, to the extent they're about anything at all, follow a standard blues trope of being fat but having the ability to attract women anyway -- the same kind of thing as Howlin' Wolf's later "Three Hundred Pounds of Joy" or "Built for Comfort" -- but what really matters with the vocal part is Domino's obvious *cheeriness*.   Domino was known as one of the nicest men in the music industry -- to the extent that it's difficult to find much biographical information about him compared to any of his contemporaries, because people tend to have more anecdotes about musicians who shoot their bass player on stage, get married eight times, and end up accidentally suing themselves than they do about people like Fats Domino. He remained married to the same woman for sixty-one years, and while he got himself a nice big house when he became rich, it was still in the same neighbourhood he'd lived in all his life, and he stayed there until Hurricane Katrina drove him out in 2005.   By all accounts he was just an absolutely, thoroughly, nice person -- I have read a lot about forties rhythm and blues artists, and far more about fifties rock and rollers, and I don't recall anyone ever saying a single negative word about him. He was shy, friendly, humble, gracious, and cheerful, and that all comes across in his vocals. While other rhythm and blues vocalists of the era were aggressive -- remember, this was the era of the blues shouter -- Domino comes across as friendly. Even when, as in a song like this, he's bragging sexually, he doesn't actually sound like he means it.   "The Fat Man" went on to sell a million copies within four years, and was the start of what became a monster success for Domino -- and as a result, Fats Domino is the first artist we've seen who's going to get more episodes about him. We've now reached the point where we're seeing the very first rock star -- and this is the point beyond which it's indisputable that rock and roll has started. Fats Domino, usually with Dave Bartholomew, carried on making records that sounded just like this throughout the fifties. Everyone called them rock and roll, and they sold in massive numbers. He outsold every other rock and roll artist of the fifties other than Elvis, and had *thirty-nine* charting hit singles in a row in the fifties and early sixties. Estimates of his sales vary between sixty-five million and a hundred and ten million, but as late as the early eighties it was being seriously claimed that the only people who'd sold more records than him in the rock era were Elvis, the Beatles, and Michael Jackson. Quite a few others have now overtaken him, but still, if anyone can claim to be the first rock star, it's Fats Domino. And as the music he was making was all in the same style as "The Fat Man", it's safe to say that while we still have many records that have been claimed as "the first rock and roll record" to go, we're now definitely in the rock and roll era.

    Welcome to episode eight of A History of Rock Music in Five Hundred Songs. Today we’re looking at Fats Domino and “The Fat Man”. Click the full post to read liner notes, links to more information, and a transcript of the episode. —-more—- A couple of notes: This one originally ran very long, so I’ve had to edit it down rather ruthlessly — I know one of the things people like about this podcast is that it only takes half an hour. I also had some technical issues, so you might notice a slight change in audio quality at one point. I think I know what caused the problem, and it shouldn’t affect any other episodes. Also, this episode is the first episode to discuss someone who’s still alive — we’re now getting into the realm of living memory, as Dave Bartholomew is still alive, aged ninety-nine — and I hope he’ll be around for many more years. Resources As always, I’ve created a Mixcloud streaming playlist with full versions of all the songs in the episode. The Mixcloud, in fact, was created before I edited this one down, and so contains one song — “Junko Partner” by Dr. John — that doesn’t appear in the finished podcast. But it’s a good song anyway. Fats Domino’s forties and fifties music is now all in the public domain, so there are all sorts of cheap compilations available. However, the best one is actually one that was released when some of the music was still in copyright — a four-CD box set called They Call Me The Fat Man: The Legendary Imperial Recordings. We’ll be talking a lot about Fats in the coming months, and there’s a reason for that — his music is among the best of his era. The performance of the Gottschalk piece, “Danza”, I excerpted is from a CD of performances by Frank French of Gottschalk’s piano work. I recommend it to anyone who is interested in the development of American music. I first learned about Gottschalk from his influence on another great Louisiana-raised pianist, Van Dyke Parks, and Parks has excellent orchestral arrangements of Gottschalk’s “Danza” and “Night in the Tropics” on his Moonlighting: Live at the Ash Grove album. I talk early on about The Sound of the City by Charlie Gillett. I recommend that book to anyone who’s interested in 50s and 60s rock and roll, though it’s dated in some respects (most notably, it uses the word “Negro” thoughout — at the time, that was the word that black people considered the most appropriate to describe them, though now it’s very much looked upon as inappropriate). The only biography of Fats Domino I know of is Rick Coleman’s Blue Monday: Fats Domino and the Lost Dawn of Rock ‘n’ Roll. It’s a very good book, though I don’t totally buy Coleman’s argument that the rhythms in New Orleans music come directly from African drumming. The recording of “New Orleans Blues” by Jelly Roll Morton is from a cheap compilation called Doctor Jazz (100 Original Tracks) — it’s labelled “New Orleans Joys” there, but it’s clearly the same song as “New Orleans Blues”, which appears in a different recording under that name on the same set. That set also has Morton being interviewed and talking about the “Spanish tinge”. The precise set I have seems no longer to be available, but this looks very similar. And finally, the intro to this episode comes, of course, from the Fat Man radio show, episodes of which can be found in a collection along with The Thin Man here. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them?   Transcript In his 1970 book The Sound of the City, which was the first attempt at a really serious history of rock and roll, Charlie Gillett also makes the first attempt at a serious typology of the music. He identifies five different styles of music, all of them very different, which loosely got lumped together (in much the same way that country and western or rhythm and blues had) and labelled rock and roll.   The five styles he identifies are Northern band rock and roll — people like Bill Haley, whose music came from Western Swing; Memphis country rock — the music we normally talk about as rockabilly; Chicago rhythm and blues — Chuck Berry and Bo Diddley; what he calls “vocal group rock and roll” but which is now better known as doo-wop; and New Orleans dance blues. I’d add a sixth genre to go in the mix, which is the coastal jump bands — people like Johnny Otis and Lucky Millinder, based in the big entertainment centres of LA and New York.   So far, we’ve talked about the coastal jump bands, and about precursors to the Northern bands, doo-wop, and rockabilly. We haven’t yet talked about New Orleans dance blues though. So let’s take a trip down the Mississippi.   We can trace New Orleans’ importance in music back at least to the early nineteenth century, and to the first truly great American composer, Louis Moreau Gottschalk.   Gottschalk was considered, in his life, an unimportant composer, just another Romantic — Mark Twain made fun of his style, and he was largely forgotten for decades after his early death. When he was remembered, if at all, it was as a performer — he was considered the greatest pianist of his generation, a flashy showman of the keyboard, who could make it do things no-one else could. But listen to this:   [Excerpt of “Danza”]   That’s a piece composed by someone who knew Chopin and Liszt. Someone who was writing so long ago he *taught someone* who played for Abraham Lincoln. Yet it sounds astonishingly up to date. It sounds like it could easily come from the 1920s or 1930s.   And the reason it sounds so advanced, and so modern, is that Gottschalk was the first person to put New Orleans music into some sort of permanent form.   We don’t know — we can’t know — how much of later New Orleans music was inspired by Gottschalk, and how much of Gottschalk was him copying the music he heard growing up. Undoubtedly there is an element of both — we know, for example, that Jelly Roll Morton, who was credited (mostly by himself, it has to be said) as the inventor of jazz, knew Gottschalk’s work. But we also know that Gottschalk knew and incorporated folk melodies he heard in New Orleans.   And that music had a lot of influences from a lot of different places. There were the slave songs, of course, but also the music that came up from the Caribbean because of New Orleans’ status as a port city. And after the Civil War there was also the additional factor of the brass band music — all those brass instruments that had been made for the military, suddenly no longer needed for a war, and available cheap.   Gottschalk himself was almost the epitome of a romantic — he wrote pieces called things like “the Dying Poet”, he was first exiled from his home in the South due to his support for the North in the Civil War and then later had to leave the US altogether and move to South America after a scandalous affair with a student, and he eventually contracted yellow fever and collapsed on stage shortly after playing a piece called Morte! (with an exclamation mark) which is Portuguese for “death”. He never recovered from his collapse, and died three weeks later of a quinine overdose.   So as well as presaging the music of the twentieth century, Gottschalk also presaged the careers of many twentieth-century musicians. Truly ahead of his time.   But by the middle of the twentieth century, time had caught up to him, and New Orleans had repeatedly revolutionised popular music, often with many of the same techniques that Gottschalk had used.   In particular, New Orleans became known for its piano virtuosos. We’ll undoubtedly cover several of them over the course of this series, but anyone with a love for the piano in popular music knows about the piano professors of New Orleans, and to an extent of Louisiana more widely. Jelly Roll Morton, Professor Longhair, James Booker, Allen Toussaint, Huey “Piano” Smith… it’s in the piano that New Orleans music has always come into its own.   And if there’s one song that sums up New Orleans music, more than any other, it’s “Junker’s Blues”. You’ve probably not heard that name before, but you’ve almost certainly heard the melody:   [section of “Junker’s Blues” as played by Champion Jack Dupree]   That’s Champion Jack Dupree, in 1940, playing the song. That’s the first known recording of it, and Dupree claims songwriting credit on the label, but it was actually written by a New Orleans piano player, Drive-Em Down Hall, some time in the 1920s. Dupree heard the song from Hall, who also apparently taught Dupree his piano style.   “Junker’s Blues” itself never became a well-known song, but its melody was reused over and over again. Most famously there was the Lloyd Price song “Lawdy Miss Clawdy”, which we’re going to be devoting a full episode to soon, but there was also “Tipitina” by Professor Longhair…   [section of “Tipitina”]   “Tee Nah Nah”   [“Tee Nah Nah” — Smiley Lewis]   And more. This one melody, by a long-dead unknown New Orleans piano player, has been performed under various names and with different sets of lyrics, by everyone from the Clash to the zydeco accordion player Clifton Chenier, by way of Elvis, Doctor John, and even Hugh Laurie.   But the most important recording of it was in 1949, by a New Orleans piano player called Fats Domino. And in his version, it became one of those songs that is often considered to be “the first rock and roll record”.   Fats Domino was not someone who could have become a rock star even a few years later. He was not mean and moody and slim, he was a big cheerful fat man, who spoke Louisiana Creole as his first language. He was never going to be a sex symbol. But he had a way of performing that made people happy, and made them want to dance, and in 1949 that was the most important thing for a musician to do.   He grew up in a kind of poverty that’s hard to imagine now — his family *did* have a record player, but it was a wind-up one, not an electrical one, and eventually the winding string broke, but young Antoine Domino loved music so much that he would sit at the record player and manually turn the records using his finger so he could still listen to them.   By 1949, Domino had become a minor celebrity among black music fans in New Orleans, more for his piano playing than for his singing. He was known as one of the best boogie woogie players around, with a unique style based on triplets rather than the more straightforward rhythms many boogie pianists used. He’d played, for example, with Roy Brown, although Domino and his entire band got dropped by Brown after Domino sang a few numbers on stage himself during a show — Brown said he was only paying Domino to play piano, not to sing and upstage him.   But minor celebrities in local music scenes are still only minor celebrities — and at aged twenty-one Fats Domino already had a family, and was living in a room in his in-laws’ house with his wife and kids, working a day job at a mattress factory, and working a second job selling crushed ice with syrup to kids, to try to make ends meet. Piano playing wasn’t exactly a way to make it rich, unless you got on records.   Someone who *had* made records, and was the biggest musician in New Orleans at the time, was Dave Bartholomew; and Bartholomew, who was working for Imperial Records, suggested that the label sign Domino.   Like many musicians in New Orleans in the late forties, Dave Bartholomew learned his musical skills while he was in the Army during World War II — he’d already been able to play the trumpet, having been taught by the same man who taught Louis Armstrong, but once he was put into a military brass band he had to learn more formal musical skills, including writing and arranging.   After getting out of the army, he got work as an A&R man for Imperial Records, and he also formed his own band, the Dave Bartholomew Orchestra, who had a hit with “Country Boy”   [excerpt of “Country Boy” by the Dave Bartholomew Orchestra]   Now, something you may notice about that song is that “dan, dah-dah” horn part. That may sound absolutely cliched to you now, but that was the first time anything like that had been used in an R&B record. And we can link that horn part back to the Gottschalk piece we heard earlier by its use of a rhythm called the tresillo (pronounced tray heel oh). The tresillo is one of a variety of related rhythms that are all known as “habanera” rhythms. That word means “from Havana”, and was used to describe any music that was influenced by the dance music — Danzas, like the title of the Gottschalk piece — coming out of Cuba in the mid nineteenth century.   The other major rhythm that came from the habanera is the clave, which is a two-bar rhythm. The first bar is a tresilo, and the second is just a “bam bam” [demonstrates]. That beat is one we’ll be seeing a lot of in the future.   These rhythms were the basis of the original tango — which didn’t have the beat that we now associate with the tango, but instead had that “dan, dah-dah” rhythm (or rhythms like it, like the cinquillo). And through Gottschalk and people like him — French-speaking Creole people living in New Orleans — that rhythm entered New Orleans music generally. Jelly Roll Morton called it the “Spanish tinge”. Have a listen, for example, to Jelly Roll’s “New Orleans Blues”:   [excerpt “New Orleans Blues” by Jelly Roll Morton]   Jelly Roll claimed to have written that as early as 1902, and the first recording of it was in 1923. It’s the tresillo rhythm underpinning it. From Gottschalk, to Jelly Roll Morton, to Dave Bartholomew. That was the sound of New Orleans, travelling across the generations.   But what really made that rhythm interesting was when you put that “dah dah dah” up against something else — on those early compositions, you have that rhythm as the main pulse, but by the time Dave Bartholomew was doing it — and he seems to have been the first one to do this — that rhythm was put against drums playing a shuffle or a backbeat. The combination of these pulses rubbing up against each other is what gave New Orleans R&B its special flavour.   I’m going to try to explain how this works, and to do that I’m going to double-track myself to show those rhythms rubbing against each other.   You have the backbeat, which we’ve talked about before — “one TWO three FOUR” — emphasising the second and fourth beats of the bar, like that.   And you have the tresillo, which is “ONE-and-two-AND-three-and-FOUR-and” — emphasising the first, a beat half-way between the two and the three, and the fourth beat. Again, “ONE-and-two-AND-three-and-FOUR-and”.   You put those two together, and you get something that sounds like this:   [excerpt — recording of me demonstrating the two rhythms going up against each other]   That habanera-backbeat combination is something that, as far as I can tell, Dave Bartholomew and the musicians who worked with him were the first ones to put together (and now I’ve said that someone will come up with some example from 1870 or something).   The musicians on “Country Boy” were ones that Bartholomew would continue to employ for many years on all the sessions he produced, and in particular they included the drummer Earl Palmer, who was bar none the greatest drummer working in America at that time.   Earl Palmer has been claimed as the first person to use the word “funky” to describe music, and he was certainly a funky player. He was also an *extraordinarily* precise timekeeper. There’s a legend told about him at multiple sessions that in the studio, after a take that lasted, say, three minutes twenty, the producer might say to the band “can we have it a little faster, say two seconds shorter?”   Palmer would then pretend to “wind up” his leg, like a clock, count out the new tempo, and the next take would come in at three minutes eighteen, dead on. That’s the kind of story that’s hard to believe, but it’s been told about him by multiple people, so it might just be true.   Either way, Earl Palmer was the tightest, funkiest, just plain best drummer working in the US in 1949, and for many years afterwards. And he was the drummer in the band of session musicians who Dave Bartholomew put together. That band were centred around Cosimo Matassa’s studio, J&M, in Louisiana, which would become one of the most important places in the history of this new music.   Cosimo Matassa was one of many Italian-American or Jewish people who got in at the very early stages of rock and roll, when it was still a predominantly black music, and acted as a connection between the black and white communities, usually in some back-room capacity. In Matassa’s case, it was as an engineer and studio owner. We’ve actually already heard one record made by him, last week — Roy Brown’s “Good Rockin’ Tonight”, which he recorded with Matassa in 1947. “Good Rockin’ Tonight” was made in New Orleans, and engineered by the man most responsible for recording the New Orleans sound, but in other respects it doesn’t have that New Orleans sound to it — it’s of the type we’re referring to as coastal jump band music. It’s music recorded *in* New Orleans, but not music *of* New Orleans. But the records that Matassa would go on to engineer with Dave Bartholomew and his band, and with other musicians of their type, would be the quintessential New Orleans records that still, seventy years on, sum up the sound of that city.   Matassa’s studio was tiny — it was in the back room of his family’s appliance store, which also had a bookmaker’s upstairs and a shoeshine boy operating outside the studio door. Matassa himself had no training in record production — he’d been a chemistry student until he dropped out of university, aged eighteen, and set up the studio, which was laughably rudimentary by today’s standards. He had a three-channel mixer, and they didn’t record to tape but directly to disc. They had two disc cutters plugged into the mixer. One of them would cut a safety copy, which they could listen to to see if it sounded OK, while the other would be cutting the master.   To explain why this is, I should probably explain how records were actually made, at least back then. A disc cutter is essentially a record player in reverse. It uses a stylus to cut a groove into a disc made of some soft material, which is called the master — the groove is cut by the vibrations of the stylus as the music goes through it. Then, a mould, called the mother, is made of the master — it’s a pure negative copy, so that instead of a groove, it has a ridge. That mother is then used to stamp out as many copies as possible of the record before it wears out — at which point, you create a new mother from the original master.   They had two disc cutters, and during a recording session someone’s job would be to stand by them and catch the wax they cut out of the discs before it dropped on to the floor — by this point, most professional studios, if they were using disc cutters at all, were using acetate discs, which are slightly more robust, but apparently J&M were still using wax.   A wax master couldn’t be played without the needle causing so much damage it couldn’t be used as a master, so you had two choices — you could either get the master made into a mother, and then use the mother to stamp out copies, and just hope they sounded OK, or you could run two disc cutters simultaneously. Then you’d be able to play one of them — destroying it in the process — to check that it sounded OK, and be pretty confident that the other disc, which had been cut from the same signal, would sound the same.   To record like this, mixing directly onto wax with no tape effects or any way to change anything, you needed a great engineer with a great feel for music, a great room with a wonderful room sound, and fantastic musicians.   Truth be told, the J&M studio didn’t have a great room sound at all. It was too small and acoustically dead, and the record companies who received the masters and released them would often end up adding echo after the fact.   But what they did have was a great engineer in Matassa, and a great bandleader in Dave Bartholomew, and the band he put together for Fats Domino’s first record would largely work together for the next few years, creating some of the greatest rock and roll music ever made.   Domino had a few tunes that would always get the audiences going, and one of them was “Junker’s Blues”. Dave Bartholomew wanted him to record that, but it was felt that the lyrics weren’t quite suitable for the radio, what with them being pretty much entirely about heroin and cocaine.   But then Bartholomew got inspired, by a radio show. “The Fat Man” was a spinoff from The Thin Man, a radio series based on the Dashiel Hammet novel. (Hammet was credited as the creator of “The Fat Man”, too, but he seems to have had almost nothing to do with it). The series featured a detective who weighed two hundred and thirty seven pounds, and was popular enough that it got its own film version in 1951. But back in 1949 Dave Bartholomew heard the show and realised that he could capitalise on the popular title, and tie it in to his fat singer. So instead of “they call me a junker, because I’m loaded all the time”, Domino sang “they call me the fat man, ‘cos I weigh two hundred pounds”.   Now, “The Fat Man” actually doesn’t have that tresillo rhythm in much of the record. There are odd parts where the bass plays it, but the bass player (who it’s *really* difficult to hear anyway, because of the poor sound quality of the recording) seems to switch between playing a tresillo, playing normal boogie basslines, and playing just four root notes as crotchets. But it does, definitely, have that “Spanish tinge” that Jelly Roll Morton talked about. You listen to this record, and you have no doubt whatsoever that this is a New Orleans musician. It’s music that absolutely couldn’t come from anywhere else.   [Excerpt from “The Fat Man”]   Domino’s scatted vocals here are very reminiscent of the Mills Brothers — there’s a similarity in his trumpet imitation which I’ve not seen anyone pick up on, but is very real. On later records, there’d be a saxophone solo doing much the same kind of thing — Domino’s later records almost all featured a tenor sax solo, roughly two thirds of the way through the record — but in this case it’s Domino’s own voice doing the job.   And while this recording doesn’t have the rhythmic sophistication of the later records that Domino and Bartholomew would make, it’s definitely a step towards what would become their eventual sound. You’d have Earl Palmer on drums playing a simple backbeat, and then over that you’d lay the bass playing a tresillo rhythm, and then over *that* you’d lay a horn riff, going across both those other rhythms, and then over *that* you’d lay Domino’s piano, playing fast triplets. You can dance to all of the beats, all of them are keeping time with each other and going in the same 4/4 bars, but what they’re not doing is playing the same thing — there’s an astonishing complexity there.   Bartholomew’s lyrics, to the extent they’re about anything at all, follow a standard blues trope of being fat but having the ability to attract women anyway — the same kind of thing as Howlin’ Wolf’s later “Three Hundred Pounds of Joy” or “Built for Comfort” — but what really matters with the vocal part is Domino’s obvious *cheeriness*.   Domino was known as one of the nicest men in the music industry — to the extent that it’s difficult to find much biographical information about him compared to any of his contemporaries, because people tend to have more anecdotes about musicians who shoot their bass player on stage, get married eight times, and end up accidentally suing themselves than they do about people like Fats Domino. He remained married to the same woman for sixty-one years, and while he got himself a nice big house when he became rich, it was still in the same neighbourhood he’d lived in all his life, and he stayed there until Hurricane Katrina drove him out in 2005.   By all accounts he was just an absolutely, thoroughly, nice person — I have read a lot about forties rhythm and blues artists, and far more about fifties rock and rollers, and I don’t recall anyone ever saying a single negative word about him. He was shy, friendly, humble, gracious, and cheerful, and that all comes across in his vocals. While other rhythm and blues vocalists of the era were aggressive — remember, this was the era of the blues shouter — Domino comes across as friendly. Even when, as in a song like this, he’s bragging sexually, he doesn’t actually sound like he means it.   “The Fat Man” went on to sell a million copies within four years, and was the start of what became a monster success for Domino — and as a result, Fats Domino is the first artist we’ve seen who’s going to get more episodes about him. We’ve now reached the point where we’re seeing the very first rock star — and this is the point beyond which it’s indisputable that rock and roll has started. Fats Domino, usually with Dave Bartholomew, carried on making records that sounded just like this throughout the fifties. Everyone called them rock and roll, and they sold in massive numbers. He outsold every other rock and roll artist of the fifties other than Elvis, and had *thirty-nine* charting hit singles in a row in the fifties and early sixties. Estimates of his sales vary between sixty-five million and a hundred and ten million, but as late as the early eighties it was being seriously claimed that the only people who’d sold more records than him in the rock era were Elvis, the Beatles, and Michael Jackson. Quite a few others have now overtaken him, but still, if anyone can claim to be the first rock star, it’s Fats Domino. And as the music he was making was all in the same style as “The Fat Man”, it’s safe to say that while we still have many records that have been claimed as “the first rock and roll record” to go, we’re now definitely in the rock and roll era.

A Vakfolt versus remake-ekkel foglalkozó évadjában ezúttal nem két, hanem három filmet eresztünk egymásnak, sőt, ezúttal a közös történetük alapjául szolgáló regényt is érintjük. A ponyvaregényes cselekményt, melyben a név nélküli hős egy törvényen kívüli városban játssza ki egymás ellen a rivális bandákat, először Dashiel Hammett álmodta meg a Red Harvest (Véres aratás) című könyvében. Ez ihlette meg Kuroszava Akirát, aki a Yojimbo (A testőr) című filmjével 1961-ben áthelyezte a történetet a szamurájkorba. Sergio Leone a spaghettiwestern hajnalán ezt a filmet látva döntött úgy, hogy az ázsiai műből európai rendezőként egy amerikai sztorit adaptál, és ebből született meg az 1964-es Per un pugno di dollari, vagyis az Egy maréknyi dollárért, angol címén A Fistful of Dollars. Végül, hogy a kört bezárjuk, Walter Hill 1996-ban a Last Man Standing (Az utolsó emberig) visszavitte a produkciót Amerikába, és az eredeti idősíkjába, szesztilalom idejének noir hangulatába.  Hogyan egyszerűsítette le Hammet elképesztően komplikált cselekményét Kuroszava? Mi történik Hammett világválság-ideji nihilizmusával a humanista Kuroszava kezei közt? Melyik rendezőnek van a legjobb érzéke a humorhoz? Melyik filmre jellemző a melodráma, mennyire befogadható ez a fajta történetmesélés a naturalizmushoz szokott néző számára? A háromból két filmhez is egy éven belül készült folytatás, de melyikről jut Andrásnak eszébe a Rocky II? Miután a mindig pedáns Péter kiejtéseket korrigál, megnézzük, mit kell tudni a spaghettiwestern kialakulásáról. Hogyan viszonyul Sergio Leone műfajteremtől Dollár-trilógiája a John Ford nevével fémjelzett kortárs amerikai westernhez? A minimális költségvetésből brillírozó Leone leleményességén csodálkozunk, és elkerülhetetlenül rangsort állítunk a Dollár-trilógia darabjai közt is, hogy még két filmmel bonyolítsuk a képletet. Végezetül a Last Man Standinggel vonalat húzunk a John Woo Hard Boiledja és a hard-boiled krimi műfaja között, és a hollywoodi filmeseknek a kilencvenes évek hongkongi akciófilmjei iránti rajongását elemezzük ki. Hogyan okozta az amerikai akcióhős halálát a Con Air? Mivel a filmre kár túl sok szót fecsérelni, ezért inkább Bruce Willis megmagyarázhatatlan szerepválasztásait nézzük végig.  Linkek A Vakfolt podcast Facebook oldala A Vakfolt versus a Letterboxdon Vakfolt versus az Apple podcasts oldalán Feliratkozás a Vakfolt versus podcastra Android készülékeken András a Twitteren: @gaines_ Péter a Twitteren: @freevo Feri a Twitteren: @wostry Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

Der er et lig, en dødsårsag, et antal mistænkte, en detektiv. Og et hav af forhindringer, tæsk, mordtrusler, ubesvarede spørgsmål og suspekte eksistenser. Og så trevler vi - sammen med Columbo, Sherlock Holmes, Philip Marlowe eller William af Baskerville - gåden op og finder den skyldige. Og vi elsker det. Sluger det råt. Især i sommerferien; Olsen, Doyle, Hammet, Christie, Egholm. Både fiktionen og, som noget relativt nyt, true crime. På mange måder er det ligesom filosofien, der undersøger sporene og tankerne og ender med opklaring/erkendelse. Medvirkende: Bo Tao Michaëlis, kulturjournalist, litterat og forfatter. Carsten Fogh Nielsen, adjunkt i pædagogisk filosofi på Aarhus Universitet. Tilrettelægger og vært: Carsten Ortmann.

Magnus och Lena pratar om verkliga spioner, påhittade hårdkokta deckare och vad som skulle kunnat hända på Münchenkonferensen. Böcker i programmet: Harris, R: München , Bergman, J: Sekreterarklubben , Bergman, J : Bizonier , Macdonald, R: Vem var John Braun? , Chandler, R: Den stora sömnen ,  Cain, J: Postmannen ringer alltid två gånger , Hammet, D: Glasnyckeln.

February's book selection is a bit different from previous choices: The Glass Key, a hardboiled mystery novel by Dashiel Hammett. Hammet is best known for The Maltese Falcon and The Thin Man, both of which were turned into popular films, but the author's personal favorite was The Glass Key, a very readable novel that takes up themes of friendship and loyalty, deception and betrayal. It was made into two American films. An early version starring George Raft and a later and better film with Alan Ladd and Veronica Lake. The great Japanese director, Akira Kurosawa, so liked this movie that it inspired him to make one of his most popular films, Yojimbo, which in turned inspired Sergio Leone to make his first Clint Eastwood spaghetti western, A Fistful of Dollars. Moviegoers will have the chance to defend their favorite version, though fans of Sergio Leone are going to have a tough time. The most available text of The Glass Key is in the Library of America edition of Dashiel Hammett . Less expensive editions are available at Amazon. ABE is selling copies of the Vintage paperback edition for $3.45, shipping included. There is also an overpriced Kindle edition, which may be more convenient for some readers. Recorded: February 25, 2015 Original Air Date: August 3, 2016 Show Run Time: 1 hour 13 minutes Show Guest(s): Dr. Thomas Fleming Show Host(s): James Easton Episode page: https://fleming.foundation/2016/08/boethius-book-club-episode-6-the-glass-key/ Boethius Book Club: https://fleming.foundation/category/podcasts/bc/ Subscribe: https://fleming.foundation/membership-signup/ Boethius Book Club℗ is a Production of the Fleming Foundation. Copyright 2016. All Rights are Reserved.

Kyle reports on getting shot in Honduras, Guy Fieri's obsession with flames, the Apollo 12 mission and why Kirk Hammet always looks like he just got out of the shower.

Hammet en los interrogatorios es implacable, pero esta vez tendrá un rival digno frente a él. Acompaña a nuestro protagonista en este nuevo periplo entre distintos casos que lo arrastrarán en una espiral muy peligrosa.

Muy buenas a todos y bienvenidos al ROMcast 20, en esta ocasión vamos a hacer un especial de Tercer Grado. Una sala, una grabadora y dejarnos llevar. Para este especial tenemos a los siguientes invitados: Idaira, una escuchante canaria que se ha prestado para echarnos una mano en este ROMcast. Raúl Lacasa, un fijo ya en los ROMcast que tiene cosas muy interesantes que aportar sobre Hammet y compañía. Jandro Revert, un tipo muy grande que ha tenido a bien acompañarnos. Ya nos ha echado alguna mano en varias colaboraciones, y las que le quedan :). Esperamos que os guste.

La situación ha cambiado las tornas y ahora es Black quien tiene el toro por los cuernos. Hammet se encuentra en la situación más comprometida en la que se ha visto involucrado y ha salpicado a toda la comisaría. ¿Cómo acabará todo? REPARTO Jason Black - Andrés Fernandez Keith Hammet - Rubén Hernando Samuel Raymond - Manuel Serrano Clarck Covert - Oscar Silvestre Mercenario 1 - Miguel Cardona Mercenario 2 - Sergio Perez Mercenario 3 - Ricardo Ranz

La situación ha cambiado las tornas y ahora es Black quien tiene el toro por los cuernos. Hammet se encuentra en la situación más comprometida en la que se ha visto involucrado y ha salpicado a toda la comisaría. ¿Cómo acabará todo? Jason Black - Andrés Fernandez Keith Hammet - Rubén Hernando Samuel Raymond - Manuel Serrano Clarck Covert - Oscar Silvestre Mercenario 1 - Miguel Cardona Mercenario 2 - Sergio Perez Mercenario 3 - Ricardo Ranz Main Theme I dunno - grapes http://dig.ccmixter.org/

Hammet busca venganza y tiene al presumible asesino de Dianne en su punto de mira, que es mas peligroso un Hammet cabreado y vengativo o un hombre metido en cosas que apenas podemos concebir. REPARTO Jason Black - Andrés Fernandez Keith Hammet - Rubén Hernando Samuel Raymond - Manuel Serrano BANDA SONORA Main Theme I dunno - grapes http://dig.ccmixter.org/

Hammet busca venganza y tiene al presumible asesino de Dianne en su punto de mira, que es mas peligroso un Hammet cabreado y vengativo o un hombre metido en cosas que apenas podemos concebir. Jason Black - Andrés Fernandez Keith Hammet - Rubén Hernando Samuel Raymond - Manuel Serrano Main Theme I dunno - grapes http://dig.ccmixter.org/

Hammet interroga a un joven llamado Walter Harrison que dice ser testigo y damnificado de un brutal allanamiento en su residencia. Hammet tendrá que descubrir qué es lo que pasó. REPARTO Keith Hammet - Rubén Hernando Walter Harrison - Juan Navarro Samuel Raymond - Manuel Serrano

Hammet interroga a un joven llamado Walter Harrison que dice ser testigo y damnificado de un brutal allanamiento en su residencia. Hammet tendrá que descubrir qué es lo que pasó.   Keith Hammet - Rubén Hernando Walter Harrison - Juan Navarro Samuel Raymond - Manuel Serrano Main Theme I dunno - grapes http://dig.ccmixter.org/

Hammet se encuentra con un caso totalmente inesperado y unas sospechosas a las que ya conocía, después del interrogatorio Hammet lo tiene claro, pero volverá a dejar a Raymmond un tiempo de reflexión a ver si da con la culpable, ¿Y vosotros daréis con ella? REPARTO Bridget - Tamara Suárez Christine - Keyla Galán Keith Hammet - Rubén Hernando Samuel Raymond - Manuel Serrano

Hammet se encuentra con un caso totalmente inesperado y unas sospechosas a las que ya conocía, después del interrogatorio Hammet lo tiene claro, pero volverá a dejar a Raymmond un tiempo de reflexión a ver si da con la culpable, ¿Y vosotros daréis con ella? Bridget - Tamara Suárez Christine - Keyla Galán Keith Hammet - Rubén Hernando Samuel Raymond - Manuel Serrano Main Theme I dunno - grapes http://dig.ccmixter.org/

Hammet es un tipo muy duro y hábil, capaz de meterse en la mente de los tipos mas peligrosos... pero ocurrirá cuando se ponga delante del pobre y colgado Robert. REPARTO Robert - Jandro Revert (@jandrorevert) Keith Hammet - Rubén Hernando Dianne - Tamara Suárez Samuel Raymond (extras) - Manuel Serrano

Hammet es un tipo muy duro y hábil, capaz de meterse en la mente de los tipos mas peligrosos... pero ocurrirá cuando se ponga delante del pobre y colgado Robert. Robert - Jandro Revert (@jandrorevert) Keith Hammet - Rubén Hernando Dianne - Tamara Suárez Samuel Raymond (extras) - Manuel Serrano Main Theme I dunno - grapes http://dig.ccmixter.org/

Los interrogatorios han vuelto a Agencia ROM de la mano de el implacable Keith Hammet. Arrancamos temporada con un nuevo caso... una joven apalizada y Hammet hará todo lo posible por que pague el responsable... lo que no sabe es que está apunto de ganarse un poderoso enemigo. Jason Black - Andrés Fernandez (@andi_fern) Keith Hammet - Rubén Hernando Samuel Raymond (extras) - Manuel Serrano Main Theme I dunno - grapes http://dig.ccmixter.org/

Los interrogatorios han vuelto a Agencia ROM de la mano de el implacable Keith Hammet. Arrancamos temporada con un nuevo caso... una joven apalizada y Hammet hará todo lo posible por que pague el responsable... lo que no sabe es que está apunto de ganarse un poderoso enemigo.

Hammet va a volver, y aunque seguirá siendo un procedimental como hasta ahora la trama que estamos preparando de fondo esperemos que os llene. De momento el trailer.

Hammet y Raymmond por fin tienen a uno de los secuestradores de niños... pero ¿habrá alguna sorpresa? Cuando hay algo mas que una respuesta en un interrogatorio es cuando los nervios se miden, es cuando hay que saber manejar la situación El interrogatorio mas duro de nuestro agente favorito ha llegado, disfrutarlo, un guión en el que ha trabajado todo el equipo de Agencia ROM... descubrir de lo que nuestras retorcidas mentes son capaces. Comentarnos que os parece este capítulo y por su puesto todo lo que penséis de nuestras audioseries. www.agenciarom.es A través de twitter: @AgenciaROM o bien en nuestro portal de facebook, en ivoox, en itunes o en google+ Y por su puesto para los mas tradicionales en nuestra cuenta de correo electrónico info@agenciarom.es Y si os está gustando no dejéis de recomendarnos

Hammet y Raymmond por fin tienen a uno de los secuestradores de niños... pero ¿habrá alguna sorpresa? Cuando hay algo mas que una respuesta en un interrogatorio es cuando los nervios se miden, es cuando hay que saber manejar la situación El interrogatorio mas duro de nuestro agente favorito ha llegado, disfrutarlo, un guión en el que ha trabajado todo el equipo de Agencia ROM... descubrir de lo que nuestras retorcidas mentes son capaces.

Hay un caso atormentando a Raymmond y a Hammet, niños desaparecidos, les ha ido acompañando a lo largo de las distintas entregas de la serie. Y por fin van a tomar las riendas del caso. Comentarnos que os parece este capítulo y por su puesto todo lo que penséis de nuestras audioseries. www.agenciarom.es A través de twitter: @AgenciaROM o bien en nuestro portal de facebook, en ivoox, en itunes o en google+ Y por su puesto para los mas tradicionales en nuestra cuenta de correo electrónico info@agenciarom.es Y si os está gustando no dejéis de recomendarnos

Hay un caso atormentando a Raymmond y a Hammet, niños desaparecidos, les ha ido acompañando a lo largo de las distintas entregas de la serie. Y por fin van a tomar las riendas del caso.

Un asesintado... con mafias de por medio.... mmm malo Parece obvio pero a Hammet no le acaba de cuadrar Comentarnos que os parece este capítulo y por su puesto todo lo que penséis de nuestras audioseries. www.agenciarom.es A través de twitter: @AgenciaROM o bien en nuestro portal de facebook, en ivoox, en itunes o en google+ Y por su puesto para los mas tradicionales en nuestra cuenta de correo electrónico info@agenciarom.es Y si os está gustando no dejéis de recomendarnos

Un asesintado... un aparente robo y un marido que se ha encontrado el cadaver de su mujer Parece obvio pero a Hammet no le acaba de cuadrar Comentarnos que os parece este capítulo y por su puesto todo lo que penséis de nuestras audioseries. www.agenciarom.es A través de twitter: @AgenciaROM o bien en nuestro portal de facebook, en ivoox, en itunes o en google+ Y por su puesto para los mas tradicionales en nuestra cuenta de correo electrónico info@agenciarom.es Y si os está gustando no dejéis de recomendarnos

Un asesintado... un aparente robo y un marido que se ha encontrado el cadaver de su mujer Parece obvio pero a Hammet no le acaba de cuadrar