Podcasts about hilo

- En el Hilo del Toreo: ¿Cuál es la finalidad de una corrida sin sangre en la capital del país? ¿Quien accedera a una fieta sin bravuray sin muerte?- El matador Diego Silveti nos comparte su punto de vista sobre el contexto actual que asedia al ruedo mas grande del mundo.- Tenemos los resultados de los festejos nacionales e internacionales mas importantes de este fin de semana.- Escuchanos en vivo todos los domingos de 21:00 - 22:00 horas en radiofórmula104.1 FM y !500 AM o en RadioFórmula.mx

Serikali ya Burundi inataka mauaji yaliyofanyika nchini mwake kati ya mwaka 1972 hadi 1973 yatambulike kimattaifa kama ni mauaji ya kimbari dhidi ya Wahutu, je kwa nini wito huo umekuja sasa? Flora Nducha anatujuza zaidi

This episode features none other than Wilfred La Salle — acclaimed actor, director, and revolutionary force in independent cinema. We explore his powerful journey through storytelling, masculinity, mental health, and purpose. Known as the greatest independent filmmaker in the world, La Salle has redefined what's possible in cinema — producing high-quality films annually on zero-dollar budgets, uplifting unknown talent, and breaking barriers without traditional studio backing. His latest film, The Security Guard, is now streaming on Amazon and gaining national attention. La Salle's films like Hilo, Hilo II, Graves, Oculus, and now The Security Guard have earned him international acclaim — including awards at festivals in Italy and India, and recent appearances on PIX 11, FOX 5, ABC 7, and more. He recently signed a historic 2-year distribution deal with Fox Soul and is in talks with NBC's Peacock, setting a new standard in indie filmmaking.   Watch The Security Guard by Wilfred La Salle – Now on Amazon

For those who haven't heard the announcement I posted, songs from this point on will sometimes be split among multiple episodes, so this is the second part of a two-episode look at the song “Who Knows Where The Time Goes?” by Fairport Convention, and the intertwining careers of Joe Boyd, Sandy Denny, and Richard Thompson. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a forty-one-minute bonus episode available, on Judy Collins’ version of this song. Tilt Araiza has assisted invaluably by editing, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Erratum For about an hour this was uploaded with the wrong Elton John clip in place of “Saturday Sun”. This has now been fixed. Resources Because of the increasing problems with Mixcloud’s restrictions, I have decided to start sharing streaming playlists of the songs used in episodes instead of Mixcloud ones. This Tunemymusic link will let you listen to the playlist I created on your streaming platform of choice — however please note that not all the songs excerpted are currently available on streaming. The songs missing from the Tidal version are “Shanten Bells” by the Ian Campbell Folk Group, “Tom’s Gone to Hilo” by A.L. Lloyd, two by Paul McNeill and Linda Peters, three by Elton John & Linda Peters, “What Will I Do With Tomorrow” by Sandy Denny and “You Never Know” by Charlie Drake, but the other fifty-nine are there. Other songs may be missing from other services. The main books I used on Fairport Convention as a whole were Patrick Humphries' Meet On The Ledge, Clinton Heylin's What We Did Instead of Holidays, and Kevan Furbank's Fairport Convention on Track. Rob Young's Electric Eden is the most important book on the British folk-rock movement. Information on Richard Thompson comes from Patrick Humphries' Richard Thompson: Strange Affair and Thompson's own autobiography Beeswing.  Information on Sandy Denny comes from Clinton Heylin's No More Sad Refrains and Mick Houghton's I've Always Kept a Unicorn. I also used Joe Boyd's autobiography White Bicycles and Chris Blackwell's The Islander.  And this three-CD set is the best introduction to Fairport's music currently in print. Transcript Before we begin, this episode contains reference to alcohol and cocaine abuse and medical neglect leading to death. It also starts with some discussion of the fatal car accident that ended last episode. There’s also some mention of child neglect and spousal violence. If that’s likely to upset you, you might want to skip this episode or read the transcript. One of the inspirations for this podcast when I started it back in 2018 was a project by Richard Thompson, which appears (like many things in Thompson’s life) to have started out of sheer bloody-mindedness. In 1999 Playboy magazine asked various people to list their “songs of the Millennium”, and most of them, understanding the brief, chose a handful of songs from the latter half of the twentieth century. But Thompson determined that he was going to list his favourite songs *of the millennium*. He didn’t quite manage that, but he did cover seven hundred and forty years, and when Playboy chose not to publish it, he decided to turn it into a touring show, in which he covered all his favourite songs from “Sumer Is Icumen In” from 1260: [Excerpt: Richard Thompson, “Sumer is Icumen In”] Through numerous traditional folk songs, union songs like “Blackleg Miner”, pieces by early-modern composers, Victorian and Edwardian music hall songs, and songs by the Beatles, the Ink Spots, the Kinks, and the Who, all the way to “Oops! I Did It Again”: [Excerpt: Richard Thompson, “Oops! I Did it Again”] And to finish the show, and to show how all this music actually ties together, he would play what he described as a “medieval tune from Brittany”, “Marry, Ageyn Hic Hev Donne Yt”: [Excerpt: Richard Thompson, “Marry, Ageyn Hic Hev Donne Yt”] We have said many times in this podcast that there is no first anything, but there’s a reason that Liege and Lief, Fairport Convention’s third album of 1969, and the album other than Unhalfbricking on which their reputation largely rests, was advertised with the slogan “The first (literally) British folk rock album ever”. Folk-rock, as the term had come to be known, and as it is still usually used today, had very little to do with traditional folk music. Rather, the records of bands like The Byrds or Simon and Garfunkel were essentially taking the sounds of British beat groups of the early sixties, particularly the Searchers, and applying those sounds to material by contemporary singer-songwriters. People like Paul Simon and Bob Dylan had come up through folk clubs, and their songs were called folk music because of that, but they weren’t what folk music had meant up to that point — songs that had been collected after being handed down through the folk process, changed by each individual singer, with no single identifiable author. They were authored songs by very idiosyncratic writers. But over their last few albums, Fairport Convention had done one or two tracks per album that weren’t like that, that were instead recordings of traditional folk songs, but arranged with rock instrumentation. They were not necessarily the first band to try traditional folk music with electric instruments — around the same time that Fairport started experimenting with the idea, so did an Irish band named Sweeney’s Men, who brought in a young electric guitarist named Henry McCullough briefly. But they do seem to have been the first to have fully embraced the idea. They had done so to an extent with “A Sailor’s Life” on Unhalfbricking, but now they were going to go much further: [Excerpt: Fairport Convention, “Matty Groves” (from about 4:30)] There had been some doubt as to whether Fairport Convention would even continue to exist — by the time Unhalfbricking, their second album of the year, was released, they had been through the terrible car accident that had killed Martin Lamble, the band’s drummer, and Jeannie Franklyn, Richard Thompson’s girlfriend. Most of the rest of the band had been seriously injured, and they had made a conscious decision not to discuss the future of the band until they were all out of hospital. Ashley Hutchings was hospitalised the longest, and Simon Nicol, Richard Thompson, and Sandy Denny, the other three surviving members of the band, flew over to LA with their producer and manager, Joe Boyd, to recuperate there and get to know the American music scene. When they came back, the group all met up in the flat belonging to Denny’s boyfriend Trevor Lucas, and decided that they were going to continue the band. They made a few decisions then — they needed a new drummer, and as well as a drummer they wanted to get in Dave Swarbrick. Swarbrick had played violin on several tracks on Unhalfbricking as a session player, and they had all been thrilled to work with him. Swarbrick was one of the most experienced musicians on the British folk circuit. He had started out in the fifties playing guitar with Beryl Marriott’s Ceilidh Band before switching to fiddle, and in 1963, long before Fairport had formed, he had already appeared on TV with the Ian Campbell Folk Group, led by Ian Campbell, the father of Ali and Robin Campbell, later of UB40: [Excerpt: The Ian Campbell Folk Group, “Shanten Bells (medley on Hullaballoo!)”] He’d sung with Ewan MacColl and A.L. Lloyd: [Excerpt: A.L. Lloyd, “Tom’s Gone to Hilo” ] And he’d formed his hugely successful duo with Martin Carthy, releasing records like “Byker Hill” which are often considered among the best British folk music of all time: [Excerpt: Martin Carthy and Dave Swarbrick, “Byker Hill”] By the time Fairport had invited him to play on Unhalfbricking, Swarbrick had already performed on twenty albums as a core band member, plus dozens more EPs, singles, and odd tracks on compilations. They had no reason to think they could actually get him to join their band. But they had three advantages. The first was that Swarbrick was sick of the traditional folk scene at the time, saying later “I didn’t like seven-eighths of the people involved in it, and it was extremely opportune to leave. I was suddenly presented with the possibilities of exploring the dramatic content of the songs to the full.” The second was that he was hugely excited to be playing with Richard Thompson, who was one of the most innovative guitarists of his generation, and Martin Carthy remembers him raving about Thompson after their initial sessions. (Carthy himself was and is no slouch on the guitar of course, and there was even talk of getting him to join the band at this point, though they decided against it — much to the relief of rhythm guitarist Simon Nicol, who is a perfectly fine player himself but didn’t want to be outclassed by *two* of the best guitarists in Britain at the same time). And the third was that Joe Boyd told him that Fairport were doing so well — they had a single just about to hit the charts with “Si Tu Dois Partir” — that he would only have to play a dozen gigs with Fairport in order to retire. As it turned out, Swarbrick would play with the group for a decade, and would never retire — I saw him on his last tour in 2015, only eight months before he died. The drummer the group picked was also a far more experienced musician than any of the rest, though in a very different genre. Dave Mattacks had no knowledge at all of the kind of music they played, having previously been a player in dance bands. When asked by Hutchings if he wanted to join the band, Mattacks’ response was “I don’t know anything about the music. I don’t understand it… I can’t tell one tune from another, they all sound the same… but if you want me to join the group, fine, because I really like it. I’m enjoying myself musically.” Mattacks brought a new level of professionalism to the band, thanks to his different background. Nicol said of him later “He was dilligent, clean, used to taking three white shirts to a gig… The application he could bring to his playing was amazing. With us, you only played well when you were feeling well.” This distinction applied to his playing as well. Nicol would later describe the difference between Mattacks’ drumming and Lamble’s by saying “Martin’s strength was as an imaginative drummer. DM came in with a strongly developed sense of rhythm, through keeping a big band of drunken saxophone players in order. A great time-keeper.” With this new line-up and a new sense of purpose, the group did as many of their contemporaries were doing and “got their heads together in the country”. Joe Boyd rented the group a mansion, Farley House, in Farley Chamberlayne, Hampshire, and they stayed there together for three months. At the start, the group seem to have thought that they were going to make another record like Unhalfbricking, with some originals, some songs by American songwriters, and a few traditional songs. Even after their stay in Farley Chamberlayne, in fact, they recorded a few of the American songs they’d rehearsed at the start of the process, Richard Farina’s “Quiet Joys of Brotherhood” and Bob Dylan and Roger McGuinn’s “Ballad of Easy Rider”: [Excerpt: Fairport Convention, “Ballad of Easy Rider”] Indeed, the whole idea of “getting our heads together in the country” (as the cliche quickly became in the late sixties as half of the bands in Britain went through much the same kind of process as Fairport were doing — but usually for reasons more to do with drug burnout or trend following than recovering from serious life-changing trauma) seems to have been inspired by Bob Dylan and the Band getting together in Big Pink. But very quickly they decided to follow the lead of Ashley Hutchings, who had had something of a Damascene conversion to the cause of traditional English folk music. They were listening mostly to Music From Big Pink by the Band, and to the first album by Sweeney’s Men: [Excerpt: Sweeney’s Men, “The Handsome Cabin Boy”] And they decided that they were going to make something that was as English as those records were North American and Irish (though in the event there were also a few Scottish songs included on the record). Hutchings in particular was becoming something of a scholar of traditional music, regularly visiting Cecil Sharp House and having long conversations with A.L. Lloyd, discovering versions of different traditional songs he’d never encountered before. This was both amusing and bemusing Sandy Denny, who had joined a rock group in part to get away from traditional music; but she was comfortable singing the material, and knew a lot of it and could make a lot of suggestions herself. Swarbrick obviously knew the repertoire intimately, and Nicol was amenable, while Mattacks was utterly clueless about the folk tradition at this point but knew this was the music he wanted to make. Thompson knew very little about traditional music, and of all the band members except Denny he was the one who has shown the least interest in the genre in his subsequent career — but as we heard at the beginning, showing the least interest in the genre is a relative thing, and while Thompson was not hugely familiar with the genre, he *was* able to work with it, and was also more than capable of writing songs that fit in with the genre. Of the eleven songs on the album, which was titled Liege and Lief (which means, roughly, Lord and Loyalty), there were no cover versions of singer-songwriters. Eight were traditional songs, and three were originals, all written in the style of traditional songs. The album opened with “Come All Ye”, an introduction written by Denny and Hutchings (the only time the two would ever write together): [Excerpt: Fairport Convention, “Come All Ye”] The other two originals were songs where Thompson had written new lyrics to traditional melodies. On “Crazy Man Michael”, Swarbrick had said to Thompson that the tune to which he had set his new words was weaker than the lyrics, to which Thompson had replied that if Swarbrick felt that way he should feel free to write a new melody. He did, and it became the first of the small number of Thompson/Swarbrick collaborations: [Excerpt: Fairport Convention, “Crazy Man Michael”] Thompson and Swarbrick would become a brief songwriting team, but as much as anything else it was down to proximity — the two respected each other as musicians, but never got on very well. In 1981 Swarbrick would say “Richard and I never got on in the early days of FC… we thought we did, but we never did. We composed some bloody good songs together, but it was purely on a basis of “you write that and I’ll write this, and we’ll put it together.” But we never sat down and had real good chats.” The third original on the album, and by far the most affecting, is another song where Thompson put lyrics to a traditional tune. In this case he thought he was putting the lyrics to the tune of “Willie O'Winsbury”, but he was basing it on a recording by Sweeney’s Men. The problem was that Sweeney’s Men had accidentally sung the lyrics of “Willie O'Winsbury'” to the tune of a totally different song, “Fause Foodrage”: [Excerpt: Sweeney’s Men, “Willie O’Winsbury”] Thompson took that melody, and set to it lyrics about loss and separation. Thompson has never been one to discuss the meanings of his lyrics in any great detail, and in the case of this one has said “I really don't know what it means. This song came out of a dream, and I pretty much wrote it as I dreamt it (it was the sixties), and didn't spend very long analyzing it. So interpret as you wish – or replace with your own lines.” But in the context of the traffic accident that had killed his tailor girlfriend and a bandmate, and injured most of his other bandmates, the lyrics about lonely travellers, the winding road, bruised and beaten sons, saying goodbye, and never cutting cloth, seem fairly self-explanatory: [Excerpt: Fairport Convention, “Farewell, Farewell”] The rest of the album, though, was taken up by traditional tunes. There was a long medley of four different fiddle reels; a version of “Reynardine” (a song about a seductive man — or is he a fox? Or perhaps both — which had been recorded by Swarbrick and Carthy on their most recent album); a 19th century song about a deserter saved from the firing squad by Prince Albert; and a long take on “Tam Lin”, one of the most famous pieces in the Scottish folk music canon, a song that has been adapted in different ways by everyone from the experimental noise band Current 93 to the dub poet Benjamin Zephaniah to the comics writer Grant Morrison: [Excerpt: Fairport Convention, “Tam Lin”] And “Matty Groves”, a song about a man killing his cheating wife and her lover, which actually has a surprisingly similar story to that of “1921” from another great concept album from that year, the Who’s Tommy. “Matty Groves” became an excuse for long solos and shows of instrumental virtuosity: [Excerpt: Fairport Convention, “Matty Groves”] The album was recorded in September 1969, after their return from their break in the country and a triumphal performance at the Royal Festival Hall, headlining over fellow Witchseason artists John and Beverly Martyn and Nick Drake. It became a classic of the traditional folk genre — arguably *the* classic of the traditional folk genre. In 2007 BBC Radio 2’s Folk Music Awards gave it an award for most influential folk album of all time, and while such things are hard to measure, I doubt there’s anyone with even the most cursory knowledge of British folk and folk-rock music who would not at least consider that a reasonable claim. But once again, by the time the album came out in November, the band had changed lineups yet again. There was a fundamental split in the band – on one side were Sandy Denny and Richard Thompson, whose stance was, roughly, that Liege and Lief was a great experiment and a fun thing to do once, but really the band had two first-rate songwriters in themselves, and that they should be concentrating on their own new material, not doing these old songs, good as they were. They wanted to take the form of the traditional songs and use that form for new material — they wanted to make British folk-rock, but with the emphasis on the rock side of things. Hutchings, on the other hand, was equally sure that he wanted to make traditional music and go further down the rabbit hole of antiquity. With the zeal of the convert he had gone in a couple of years from being the leader of a band who were labelled “the British Jefferson Airplane” to becoming a serious scholar of traditional folk music. Denny was tired of touring, as well — she wanted to spend more time at home with Trevor Lucas, who was sleeping with other women when she was away and making her insecure. When the time came for the group to go on a tour of Denmark, Denny decided she couldn’t make it, and Hutchings was jubilant — he decided he was going to get A.L. Lloyd into the band in her place and become a *real* folk group. Then Denny reconsidered, and Hutchings was crushed. He realised that while he had always been the leader, he wasn’t going to be able to lead the band any further in the traditionalist direction, and quit the group — but not before he was delegated by the other band members to fire Denny. Until the publication of Richard Thompson’s autobiography in 2022, every book on the group or its members said that Denny quit the band again, which was presumably a polite fiction that the band agreed, but according to Thompson “Before we flew home, we decided to fire Sandy. I don't remember who asked her to leave – it was probably Ashley, who usually did the dirty work. She was reportedly shocked that we would take that step. She may have been fragile beneath the confident facade, but she still knew her worth.” Thompson goes on to explain that the reasons for kicking her out were that “I suppose we felt that in her mind she had already left” and that “We were probably suffering from post-traumatic stress disorder, though there wasn't a name for it back then.” They had considered inviting Trevor Lucas to join the band to make Denny more comfortable, but came to the (probably correct) conclusion that while he was someone they got on well with personally, he would be another big ego in a band that already had several, and that being around Denny and Lucas’ volatile relationship would, in Thompson’s phrasing, “have not always given one a feeling of peace and stability.” Hutchings originally decided he was going to join Sweeney’s Men, but that group were falling apart, and their first rehearsal with Hutchings would also be their last as a group, with only Hutchings and guitarist and mandolin player Terry Woods left in the band. They added Woods’ wife Gay, and another couple, Tim Hart and Maddy Prior, and formed a group called Steeleye Span, a name given them by Martin Carthy. That group, like Fairport, went to “get their heads together in the country” for three months and recorded an album of electric versions of traditional songs, Hark the Village Wait, on which Mattacks and another drummer, Gerry Conway, guested as Steeleye Span didn’t at the time have their own drummer: [Excerpt: Steeleye Span, “Blackleg Miner”] Steeleye Span would go on to have a moderately successful chart career in the seventies, but by that time most of the original lineup, including Hutchings, had left — Hutchings stayed with them for a few albums, then went on to form the first of a series of bands, all called the Albion Band or variations on that name, which continue to this day. And this is something that needs to be pointed out at this point — it is impossible to follow every single individual in this narrative as they move between bands. There is enough material in the history of the British folk-rock scene that someone could do a 500 Songs-style podcast just on that, and every time someone left Fairport, or Steeleye Span, or the Albion Band, or Matthews’ Southern Comfort, or any of the other bands we have mentioned or will mention, they would go off and form another band which would then fission, and some of its members would often join one of those other bands. There was a point in the mid-1970s where the Albion Band had two original members of Fairport Convention while Fairport Convention had none. So just in order to keep the narrative anything like wieldy, I’m going to keep the narrative concentrated on the two figures from Fairport — Sandy Denny and Richard Thompson — whose work outside the group has had the most influence on the wider world of rock music more broadly, and only deal with the other members when, as they often did, their careers intersected with those two. That doesn’t mean the other members are not themselves hugely important musicians, just that their importance has been primarily to the folk side of the folk-rock genre, and so somewhat outside the scope of this podcast. While Hutchings decided to form a band that would allow him to go deeper and deeper into traditional folk music, Sandy Denny’s next venture was rather different. For a long time she had been writing far more songs than she had ever played for her bandmates, like “Nothing More”, a song that many have suggested is about Thompson: [Excerpt: Fotheringay, “Nothing More”] When Joe Boyd heard that Denny was leaving Fairport Convention, he was at first elated. Fairport’s records were being distributed by A&M in the US at that point, but Island Records was in the process of opening up a new US subsidiary which would then release all future Fairport product — *but*, as far as A&M were concerned, Sandy Denny *was* Fairport Convention. They were only interested in her. Boyd, on the other hand, loved Denny’s work intensely, but from his point of view *Richard Thompson* was Fairport Convention. If he could get Denny signed directly to A&M as a solo artist before Island started its US operations, Witchseason could get a huge advance on her first solo record, while Fairport could continue making records for Island — he’d have two lucrative acts, on different labels. Boyd went over and spoke to A&M and got an agreement in principle that they would give Denny a forty-thousand-dollar advance on her first solo album — twice what they were paying for Fairport albums. The problem was that Denny didn’t want to be a solo act. She wanted to be the lead singer of a band. She gave many reasons for this — the one she gave to many journalists was that she had seen a Judy Collins show and been impressed, but noticed that Collins’ band were definitely a “backing group”, and as she put it “But that's all they were – a backing group. I suddenly thought, If you're playing together on a stage you might as well be TOGETHER.” Most other people in her life, though, say that the main reason for her wanting to be in a band was her desire to be with her boyfriend, Trevor Lucas. Partly this was due to a genuine desire to spend more time with someone with whom she was very much in love, partly it was a fear that he would cheat on her if she was away from him for long periods of time, and part of it seems to have been Lucas’ dislike of being *too* overshadowed by his talented girlfriend — he didn’t mind acknowledging that she was a major talent, but he wanted to be thought of as at least a minor one. So instead of going solo, Denny formed Fotheringay, named after the song she had written for Fairport. This new band consisted at first of Denny on vocals and occasional piano, Lucas on vocals and rhythm guitar, and Lucas’ old Eclection bandmate Gerry Conway on drums. For a lead guitarist, they asked Richard Thompson who the best guitarist in Britain was, and he told them Albert Lee. Lee in turn brought in bass player Pat Donaldson, but this lineup of the band barely survived a fortnight. Lee *was* arguably the best guitarist in Britain, certainly a reasonable candidate if you could ever have a singular best (as indeed was Thompson himself), but he was the best *country* guitarist in Britain, and his style simply didn’t fit with Fotheringay’s folk-influenced songs. He was replaced by American guitarist Jerry Donahue, who was not anything like as proficient as Lee, but who was still very good, and fit the band’s style much better. The new group rehearsed together for a few weeks, did a quick tour, and then went into the recording studio to record their debut, self-titled, album. Joe Boyd produced the album, but admitted himself that he only paid attention to those songs he considered worthwhile — the album contained one song by Lucas, “The Ballad of Ned Kelly”, and two cover versions of American singer-songwriter material with Lucas singing lead. But everyone knew that the songs that actually *mattered* were Sandy Denny’s, and Boyd was far more interested in them, particularly the songs “The Sea” and “The Pond and the Stream”: [Excerpt: Fotheringay, “The Pond and the Stream”] Fotheringay almost immediately hit financial problems, though. While other Witchseason acts were used to touring on the cheap, all packed together in the back of a Transit van with inexpensive equipment, Trevor Lucas had ambitions of being a rock star and wanted to put together a touring production to match, with expensive transport and equipment, including a speaker system that got nicknamed “Stonehenge” — but at the same time, Denny was unhappy being on the road, and didn’t play many gigs. As well as the band itself, the Fotheringay album also featured backing vocals from a couple of other people, including Denny’s friend Linda Peters. Peters was another singer from the folk clubs, and a good one, though less well-known than Denny — at this point she had only released a couple of singles, and those singles seemed to have been as much as anything else released as a novelty. The first of those, a version of Dylan’s “You Ain’t Goin’ Nowhere” had been released as by “Paul McNeill and Linda Peters”: [Excerpt: Paul McNeill and Linda Peters, “You Ain’t Goin’ Nowhere”] But their second single, a version of John D. Loudermilk’s “You’re Taking My Bag”, was released on the tiny Page One label, owned by Larry Page, and was released under the name “Paul and Linda”, clearly with the intent of confusing particularly gullible members of the record-buying public into thinking this was the McCartneys: [Excerpt: Paul and Linda, “You’re Taking My Bag”] Peters was though more financially successful than almost anyone else in this story, as she was making a great deal of money as a session singer. She actually did another session involving most of Fotheringay around this time. Witchseason had a number of excellent songwriters on its roster, and had had some success getting covers by people like Judy Collins, but Joe Boyd thought that they might possibly do better at getting cover versions if they were performed in less idiosyncratic arrangements. Donahue, Donaldson, and Conway went into the studio to record backing tracks, and vocals were added by Peters and another session singer, who according to some sources also provided piano. They cut songs by Mike Heron of the Incredible String Band: [Excerpt: Linda Peters, “You Get Brighter”] Ed Carter, formerly of The New Nadir but by this time firmly ensconced in the Beach Boys’ touring band where he would remain for the next quarter-century: [Excerpt: Linda Peters, “I Don’t Mind”] John and Beverly Martyn, and Nick Drake: [Excerpt: Elton John, “Saturday Sun”] There are different lineups of musicians credited for those sessions in different sources, but I tend to believe that it’s mostly Fotheringay for the simple reason that Donahue says it was him, Donaldson and Conway who talked Lucas and Denny into the mistake that destroyed Fotheringay because of these sessions. Fotheringay were in financial trouble already, spending far more money than they were bringing in, but their album made the top twenty and they were getting respect both from critics and from the public — in September, Sandy Denny was voted best British female singer by the readers of Melody Maker in their annual poll, which led to shocked headlines in the tabloids about how this “unknown” could have beaten such big names as Dusty Springfield and Cilla Black. Only a couple of weeks after that, they were due to headline at the Albert Hall. It should have been a triumph. But Donahue, Donaldson, and Conway had asked that singing pianist to be their support act. As Donahue said later “That was a terrible miscast. It was our fault. He asked if [he] could do it. Actually Pat, Gerry and I had to talk Sandy and Trevor into [it]… We'd done these demos and the way he was playing – he was a wonderful piano player – he was sensitive enough. We knew very little about his stage-show. We thought he'd be a really good opener for us.” Unfortunately, Elton John was rather *too* good. As Donahue continued “we had no idea what he had in mind, that he was going to do the most incredible rock & roll show ever. He pretty much blew us off the stage before we even got on the stage.” To make matters worse, Fotheringay’s set, which was mostly comprised of new material, was underrehearsed and sloppy, and from that point on no matter what they did people were counting the hours until the band split up. They struggled along for a while though, and started working on a second record, with Boyd again producing, though as Boyd later said “I probably shouldn't have been producing the record. My lack of respect for the group was clear, and couldn't have helped the atmosphere. We'd put out a record that had sold disappointingly, A&M was unhappy. Sandy's tracks on the first record are among the best things she ever did – the rest of it, who cares? And the artwork, Trevor's sister, was terrible. It would have been one thing if I'd been unhappy with it and it sold, and the group was working all the time, making money, but that wasn't the case … I knew what Sandy was capable of, and it was very upsetting to me.” The record would not be released for thirty-eight years: [Excerpt: Fotheringay, “Wild Mountain Thyme”] Witchseason was going badly into debt. Given all the fissioning of bands that we’ve already been talking about, Boyd had been stretched thin — he produced sixteen albums in 1970, and almost all of them lost money for the company. And he was getting more and more disillusioned with the people he was producing. He loved Beverly Martyn’s work, but had little time for her abusive husband John, who was dominating her recording and life more and more and would soon become a solo artist while making her stay at home (and stealing her ideas without giving her songwriting credit). The Incredible String Band were great, but they had recently converted to Scientology, which Boyd found annoying, and while he was working with all sorts of exciting artists like Vashti Bunyan and Nico, he was finding himself less and less important to the artists he mentored. Fairport Convention were a good example of this. After Denny and Hutchings had left the group, they’d decided to carry on as an electric folk group, performing an equal mix of originals by the Swarbrick and Thompson songwriting team and arrangements of traditional songs. The group were now far enough away from the “British Jefferson Airplane” label that they decided they didn’t need a female vocalist — and more realistically, while they’d been able to replace Judy Dyble, nobody was going to replace Sandy Denny. Though it’s rather surprising when one considers Thompson’s subsequent career that nobody seems to have thought of bringing in Denny’s friend Linda Peters, who was dating Joe Boyd at the time (as Denny had been before she met Lucas) as Denny’s replacement. Instead, they decided that Swarbrick and Thompson were going to share the vocals between them. They did, though, need a bass player to replace Hutchings. Swarbrick wanted to bring in Dave Pegg, with whom he had played in the Ian Campbell Folk Group, but the other band members initially thought the idea was a bad one. At the time, while they respected Swarbrick as a musician, they didn’t think he fully understood rock and roll yet, and they thought the idea of getting in a folkie who had played double bass rather than an electric rock bassist ridiculous. But they auditioned him to mollify Swarbrick, and found that he was exactly what they needed. As Joe Boyd later said “All those bass lines were great, Ashley invented them all, but he never could play them that well. He thought of them, but he was technically not a terrific bass player. He was a very inventive, melodic, bass player, but not a very powerful one technically. But having had the part explained to him once, Pegg was playing it better than Ashley had ever played it… In some rock bands, I think, ultimately, the bands that sound great, you can generally trace it to the bass player… it was at that point they became a great band, when they had Pegg.” The new lineup of Fairport decided to move in together, and found a former pub called the Angel, into which all the band members moved, along with their partners and children (Thompson was the only one who was single at this point) and their roadies. The group lived together quite happily, and one gets the impression that this was the period when they were most comfortable with each other, even though by this point they were a disparate group with disparate tastes, in music as in everything else. Several people have said that the only music all the band members could agree they liked at this point was the first two albums by The Band. With the departure of Hutchings from the band, Swarbrick and Thompson, as the strongest personalities and soloists, became in effect the joint leaders of the group, and they became collaborators as songwriters, trying to write new songs that were inspired by traditional music. Thompson described the process as “let’s take one line of this reel and slow it down and move it up a minor third and see what that does to it; let’s take one line of this ballad and make a whole song out of it. Chopping up the tradition to find new things to do… like a collage.” Generally speaking, Swarbrick and Thompson would sit by the fire and Swarbrick would play a melody he’d been working on, the two would work on it for a while, and Thompson would then go away and write the lyrics. This is how the two came up with songs like the nine-minute “Sloth”, a highlight of the next album, Full House, and one that would remain in Fairport’s live set for much of their career: [Excerpt: Fairport Convention, “Sloth”] “Sloth” was titled that way because Thompson and Swarbrick were working on two tunes, a slow one and a fast one, and they jokingly named them “Sloth” and “Fasth”, but the latter got renamed to “Walk Awhile”, while “Sloth” kept its working title. But by this point, Boyd and Thompson were having a lot of conflict in the studio. Boyd was never the most technical of producers — he was one of those producers whose job is to gently guide the artists in the studio and create a space for the music to flourish, rather than the Joe Meek type with an intimate technical knowledge of the studio — and as the artists he was working with gained confidence in their own work they felt they had less and less need of him. During the making of the Full House album, Thompson and Boyd, according to Boyd, clashed on everything — every time Boyd thought Thompson had done a good solo, Thompson would say to erase it and let him have another go, while every time Boyd thought Thompson could do better, Thompson would say that was the take to keep. One of their biggest clashes was over Thompson’s song “Poor Will and the Jolly Hangman”, which was originally intended for release on the album, and is included in current reissues of it: [Excerpt: Fairport Convention, “Poor Will and the Jolly Hangman”] Thompson had written that song inspired by what he thought was the unjust treatment of Alex Bramham, the driver in Fairport’s fatal car crash, by the courts — Bramham had been given a prison sentence of a few months for dangerous driving, while the group members thought he had not been at fault. Boyd thought it was one of the best things recorded for the album, but Thompson wasn’t happy with his vocal — there was one note at the top of the melody that he couldn’t quite hit — and insisted it be kept off the record, even though that meant it would be a shorter album than normal. He did this at such a late stage that early copies of the album actually had the title printed on the sleeve, but then blacked out. He now says in his autobiography “I could have persevered, double-tracked the voice, warmed up for longer – anything. It was a good track, and the record was lacking without it. When the album was re-released, the track was restored with a more confident vocal, and it has stayed there ever since.” During the sessions for Full House the group also recorded one non-album single, Thompson and Swarbrick’s “Now Be Thankful”: [Excerpt, Fairport Convention, “Now Be Thankful”] The B-side to that was a medley of two traditional tunes plus a Swarbrick original, but was given the deliberately ridiculous title “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”: [Excerpt: Fairport Convention, “Sir B. McKenzie’s Daughter’s Lament For The 77th Mounted Lancers Retreat From The Straits Of Loch Knombe, In The Year Of Our Lord 1727, On The Occasion Of The Announcement Of Her Marriage To The Laird Of Kinleakie”] The B. McKenzie in the title was a reference to the comic-strip character Barry McKenzie, a stereotype drunk Australian created for Private Eye magazine by the comedian Barry Humphries (later to become better known for his Dame Edna Everage character) but the title was chosen for one reason only — to get into the Guinness Book of Records for the song with the longest title. Which they did, though they were later displaced by the industrial band Test Dept, and their song “Long Live British Democracy Which Flourishes and Is Constantly Perfected Under the Immaculate Guidance of the Great, Honourable, Generous and Correct Margaret Hilda Thatcher. She Is the Blue Sky in the Hearts of All Nations. Our People Pay Homage and Bow in Deep Respect and Gratitude to Her. The Milk of Human Kindness”. Full House got excellent reviews in the music press, with Rolling Stone saying “The music shows that England has finally gotten her own equivalent to The Band… By calling Fairport an English equivalent of the Band, I meant that they have soaked up enough of the tradition of their countryfolk that it begins to show all over, while they maintain their roots in rock.” Off the back of this, the group went on their first US tour, culminating in a series of shows at the Troubadour in LA, on the same bill as Rick Nelson, which were recorded and later released as a live album: [Excerpt: Fairport Convention, “Sloth (live)”] The Troubadour was one of the hippest venues at the time, and over their residency there the group got seen by many celebrities, some of whom joined them on stage. The first was Linda Ronstadt, who initially demurred, saying she didn’t know any of their songs. On being told they knew all of hers, she joined in with a rendition of “Silver Threads and Golden Needles”. Thompson was later asked to join Ronstadt’s backing band, who would go on to become the Eagles, but he said later of this offer “I would have hated it. I’d have hated being on the road with four or five miserable Americans — they always seem miserable. And if you see them now, they still look miserable on stage — like they don’t want to be there and they don’t like each other.” The group were also joined on stage at the Troubadour on one memorable night by some former bandmates of Pegg’s. Before joining the Ian Campbell Folk Group, Pegg had played around the Birmingham beat scene, and had been in bands with John Bonham and Robert Plant, who turned up to the Troubadour with their Led Zeppelin bandmate Jimmy Page (reports differ on whether the fourth member of Zeppelin, John Paul Jones, also came along). They all got up on stage together and jammed on songs like “Hey Joe”, “Louie Louie”, and various old Elvis tunes. The show was recorded, and the tapes are apparently still in the possession of Joe Boyd, who has said he refuses to release them in case he is murdered by the ghost of Peter Grant. According to Thompson, that night ended in a three-way drinking contest between Pegg, Bonham, and Janis Joplin, and it’s testament to how strong the drinking culture is around Fairport and the British folk scene in general that Pegg outdrank both of them. According to Thompson, Bonham was found naked by a swimming pool two days later, having missed two gigs. For all their hard rock image, Led Zeppelin were admirers of a lot of the British folk and folk-rock scene, and a few months later Sandy Denny would become the only outside vocalist ever to appear on a Led Zeppelin record when she duetted with Plant on “The Battle of Evermore” on the group’s fourth album: [Excerpt: Led Zeppelin, “The Battle of Evermore”] Denny would never actually get paid for her appearance on one of the best-selling albums of all time. That was, incidentally, not the only session that Denny was involved in around this time — she also sang on the soundtrack to a soft porn film titled Swedish Fly Girls, whose soundtrack was produced by Manfred Mann: [Excerpt: Sandy Denny, “What Will I Do With Tomorrow?”] Shortly after Fairport’s trip to America, Joe Boyd decided he was giving up on Witchseason. The company was now losing money, and he was finding himself having to produce work for more and more acts as the various bands fissioned. The only ones he really cared about were Richard Thompson, who he was finding it more and more difficult to work with, Nick Drake, who wanted to do his next album with just an acoustic guitar anyway, Sandy Denny, who he felt was wasting her talents in Fotheringay, and Mike Heron of the Incredible String Band, who was more distant since his conversion to Scientology. Boyd did make some attempts to keep the company going. On a trip to Sweden, he negotiated an agreement with the manager and publisher of a Swedish band whose songs he’d found intriguing, the Hep Stars. Boyd was going to publish their songs in the UK, and in return that publisher, Stig Anderson, would get the rights to Witchseason’s catalogue in Scandinavia — a straight swap, with no money changing hands. But before Boyd could get round to signing the paperwork, he got a better offer from Mo Ostin of Warners — Ostin wanted Boyd to come over to LA and head up Warners’ new film music department. Boyd sold Witchseason to Island Records and moved to LA with his fiancee Linda Peters, spending the next few years working on music for films like Deliverance and A Clockwork Orange, as well as making his own documentary about Jimi Hendrix, and thus missed out on getting the UK publishing rights for ABBA, and all the income that would have brought him, for no money. And it was that decision that led to the breakup of Fotheringay. Just before Christmas 1970, Fotheringay were having a difficult session, recording the track “John the Gun”: [Excerpt: Fotheringay, “John the Gun”] Boyd got frustrated and kicked everyone out of the session, and went for a meal and several drinks with Denny. He kept insisting that she should dump the band and just go solo, and then something happened that the two of them would always describe differently. She asked him if he would continue to produce her records if she went solo, and he said he would. According to Boyd’s recollection of the events, he meant that he would fly back from California at some point to produce her records. According to Denny, he told her that if she went solo he would stay in Britain and not take the job in LA. This miscommunication was only discovered after Denny told the rest of Fotheringay after the Christmas break that she was splitting the band. Jerry Donahue has described that as the worst moment of his life, and Denny felt very guilty about breaking up a band with some of her closest friends in — and then when Boyd went over to the US anyway she felt a profound betrayal. Two days before Fotheringay’s final concert, in January 1971, Sandy Denny signed a solo deal with Island records, but her first solo album would not end up produced by Joe Boyd. Instead, The North Star Grassman and the Ravens was co-produced by Denny, John Wood — the engineer who had worked with Boyd on pretty much everything he’d produced, and Richard Thompson, who had just quit Fairport Convention, though he continued living with them at the Angel, at least until a truck crashed into the building in February 1971, destroying its entire front wall and forcing them to relocate. The songs chosen for The North Star Grassman and the Ravens reflected the kind of choices Denny would make on her future albums, and her eclectic taste in music. There was, of course, the obligatory Dylan cover, and the traditional folk ballad “Blackwaterside”, but there was also a cover version of Brenda Lee’s “Let’s Jump the Broomstick”: [Excerpt: Sandy Denny, “Let’s Jump the Broomstick”] Most of the album, though, was made up of originals about various people in Denny’s life, like “Next Time Around”, about her ex-boyfriend Jackson C Frank: [Excerpt: Sandy Denny, “Next Time Around”] The album made the top forty in the UK — Denny’s only solo album to do so — and led to her once again winning the “best female singer” award in Melody Maker’s readers’ poll that year — the male singer award was won by Rod Stewart. Both Stewart and Denny appeared the next year on the London Symphony Orchestra’s all-star version of The Who’s Tommy, which had originally been intended as a vehicle for Stewart before Roger Daltrey got involved. Stewart’s role was reduced to a single song, “Pinball Wizard”, while Denny sang on “It’s a Boy”: [Excerpt: Sandy Denny, “It’s a Boy”] While Fotheringay had split up, all the band members play on The North Star Grassman and the Ravens. Guitarists Donahue and Lucas only play on a couple of the tracks, with Richard Thompson playing most of the guitar on the record. But Fotheringay’s rhythm section of Pat Donaldson and Gerry Conway play on almost every track. Another musician on the album, Ian Whiteman, would possibly have a profound effect on the future direction of Richard Thompson’s career and life. Whiteman was the former keyboard player for the mod band The Action, having joined them just before they became the blues-rock band Mighty Baby. But Mighty Baby had split up when all of the band except the lead singer had converted to Islam. Richard Thompson was on his own spiritual journey at this point, and became a Sufi – the same branch of Islam as Whiteman – soon after the session, though Thompson has said that his conversion was independent of Whiteman’s. The two did become very close and work together a lot in the mid-seventies though. Thompson had supposedly left Fairport because he was writing material that wasn’t suited to the band, but he spent more than a year after quitting the group working on sessions rather than doing anything with his own material, and these sessions tended to involve the same core group of musicians. One of the more unusual was a folk-rock supergroup called The Bunch, put together by Trevor Lucas. Richard Branson had recently bought a recording studio, and wanted a band to test it out before opening it up for commercial customers, so with this free studio time Lucas decided to record a set of fifties rock and roll covers. He gathered together Thompson, Denny, Whiteman, Ashley Hutchings, Dave Mattacks, Pat Donaldson, Gerry Conway, pianist Tony Cox, the horn section that would later form the core of the Average White Band, and Linda Peters, who had now split up with Joe Boyd and returned to the UK, and who had started dating Thompson. They recorded an album of covers of songs by Jerry Lee Lewis, the Everly Brothers, Johnny Otis and others: [Excerpt: The Bunch, “Willie and the Hand Jive”] The early seventies was a hugely productive time for this group of musicians, as they all continued playing on each other’s projects. One notable album was No Roses by Shirley Collins, which featured Thompson, Mattacks, Whiteman, Simon Nicol, Lal and Mike Waterson, and Ashley Hutchings, who was at that point married to Collins, as well as some more unusual musicians like the free jazz saxophonist Lol Coxhill: [Excerpt: Shirley Collins and the Albion Country Band, “Claudy Banks”] Collins was at the time the most respected female singer in British traditional music, and already had a substantial career including a series of important records made with her sister Dolly, work with guitarists like Davey Graham, and time spent in the 1950s collecting folk songs in the Southern US with her then partner Alan Lomax – according to Collins she did much of the actual work, but Lomax only mentioned her in a single sentence in his book on this work. Some of the same group of musicians went on to work on an album of traditional Morris dancing tunes, titled Morris On, credited to “Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield”, with Collins singing lead on two tracks: [Excerpt: Ashley Hutchings, Richard Thompson, Dave Mattacks, John Kirkpatrick and Barry Dransfield with Shirley Collins, “The Willow Tree”] Thompson thought that that album was the best of the various side projects he was involved in at the time, comparing it favourably to Rock On, which he thought was rather slight, saying later “Conceptually, Fairport, Ashley and myself and Sandy were developing a more fragile style of music that nobody else was particularly interested in, a British Folk Rock idea that had a logical development to it, although we all presented it our own way. Morris On was rather more true to what we were doing. Rock On was rather a retro step. I'm not sure it was lasting enough as a record but Sandy did sing really well on the Buddy Holly songs.” Hutchings used the musicians on No Roses and Morris On as the basis for his band the Albion Band, which continues to this day. Simon Nicol and Dave Mattacks both quit Fairport to join the Albion Band, though Mattacks soon returned. Nicol would not return to Fairport for several years, though, and for a long period in the mid-seventies Fairport Convention had no original members. Unfortunately, while Collins was involved in the Albion Band early on, she and Hutchings ended up divorcing, and the stress from the divorce led to Collins developing spasmodic dysphonia, a stress-related illness which makes it impossible for the sufferer to sing. She did eventually regain her vocal ability, but between 1978 and 2016 she was unable to perform at all, and lost decades of her career. Richard Thompson occasionally performed with the Albion Band early on, but he was getting stretched a little thin with all these sessions. Linda Peters said later of him “When I came back from America, he was working in Sandy’s band, and doing sessions by the score. Always with Pat Donaldson and Dave Mattacks. Richard would turn up with his guitar, one day he went along to do a session with one of those folkie lady singers — and there were Pat and DM. They all cracked. Richard smashed his amp and said “Right! No more sessions!” In 1972 he got round to releasing his first solo album, Henry the Human Fly, which featured guest appearances by Linda Peters and Sandy Denny among others: [Excerpt: Richard Thompson, “The Angels Took My Racehorse Away”] Unfortunately, while that album has later become regarded as one of the classics of its genre, at the time it was absolutely slated by the music press. The review in Melody Maker, for example, read in part “Some of Richard Thompson’s ideas sound great – which is really the saving grace of this album, because most of the music doesn’t. The tragedy is that Thompson’s “British rock music” is such an unconvincing concoction… Even the songs that do integrate rock and traditional styles of electric guitar rhythms and accordion and fiddle decoration – and also include explicit, meaningful lyrics are marred by bottle-up vocals, uninspiring guitar phrases and a general lack of conviction in performance.” Henry the Human Fly was released in the US by Warners, who had a reciprocal licensing deal with Island (and for whom Joe Boyd was working at the time, which may have had something to do with that) but according to Thompson it became the lowest-selling record that Warners ever put out (though I’ve also seen that claim made about Van Dyke Parks’ Song Cycle, another album that has later been rediscovered). Thompson was hugely depressed by this reaction, and blamed his own singing. Happily, though, by this point he and Linda had become a couple — they would marry in 1972 — and they started playing folk clubs as a duo, or sometimes in a trio with Simon Nicol. Thompson was also playing with Sandy Denny’s backing band at this point, and played on every track on her second solo album, Sandy. This album was meant to be her big commercial breakthrough, with a glamorous cover photo by David Bailey, and with a more American sound, including steel guitar by Sneaky Pete Kleinow of the Flying Burrito Brothers (whose overdubs were supervised in LA by Joe Boyd): [Excerpt: Sandy Denny, “Tomorrow is a Long Time”] The album was given a big marketing push by Island, and “Listen, Listen” was made single of the week on the Radio 1 Breakfast show: [Excerpt: Sandy Denny, “Listen, Listen”] But it did even worse than the previous album, sending her into something of a depression. Linda Thompson (as the former Linda Peters now was) said of this period “After the Sandy album, it got her down that her popularity didn't suddenly increase in leaps and bounds, and that was the start of her really fretting about the way her career was going. Things only escalated after that. People like me or Martin Carthy or Norma Waterson would think, ‘What are you on about? This is folk music.'” After Sandy’s release, Denny realised she could no longer afford to tour with a band, and so went back to performing just acoustically or on piano. The only new music to be released by either of these ex-members of Fairport Convention in 1973 was, oddly, on an album by the band they were no longer members of. After Thompson had left Fairport, the group had managed to release two whole albums with the same lineup — Swarbrick, Nicol, Pegg, and Mattacks. But then Nicol and Mattacks had both quit the band to join the Albion Band with their former bandmate Ashley Hutchings, leading to a situation where the Albion Band had two original members of Fairport plus their longtime drummer while Fairport Convention itself had no original members and was down to just Swarbrick and Pegg. Needing to fulfil their contracts, they then recruited three former members of Fotheringay — Lucas on vocals and rhythm guitar, Donahue on lead guitar, and Conway on drums. Conway was only a session player at the time, and Mattacks soon returned to the band, but Lucas and Donahue became full-time members. This new lineup of Fairport Convention released two albums in 1973, widely regarded as the group’s most inconsistent records, and on the title track of the first, “Rosie”, Richard Thompson guested on guitar, with Sandy Denny and Linda Thompson on backing vocals: [Excerpt: Fairport Convention, “Rosie”] Neither Sandy Denny nor Richard Thompson released a record themselves in 1973, but in neither case was this through the artists’ choice. The record industry was changing in the early 1970s, as we’ll see in later episodes, and was less inclined to throw good money after bad in the pursuit of art. Island Records prided itself on being a home for great artists, but it was still a business, and needed to make money. We’ll talk about the OPEC oil crisis and its effect on the music industry much more when the podcast gets to 1973, but in brief, the production of oil by the US peaked in 1970 and started to decrease, leading to them importing more and more oil from the Middle East. As a result of this, oil prices rose slowly between 1971 and 1973, then very quickly towards the end of 1973 as a result of the Arab-Israeli conflict that year. As vinyl is made of oil, suddenly producing records became much more expensive, and in this period a lot of labels decided not to release already-completed albums, until what they hoped would be a brief period of shortages passed. Both Denny and Thompson recorded albums at this point that got put to one side by Island. In the case of Thompson, it was the first album by Richard and Linda as a duo, I Want to See the Bright Lights Tonight: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Today, I Want to See the Bright Lights Tonight is widely regarded as one of the greatest albums of all time, and as one of the two masterpieces that bookended Richard and Linda’s career as a duo and their marriage. But when they recorded the album, full of Richard’s dark songs, it was the opposite of commercial. Even a song that’s more or less a boy-girl song, like “Has He Got a Friend for Me?” has lyrics like “He wouldn’t notice me passing by/I could be in the gutter, or dangling down from a tree” [Excerpt: Richard and Linda Thompson, “Has He got a Friend For Me?”] While something like “The Calvary Cross” is oblique and haunted, and seems to cast a pall over the entire album: [Excerpt: Richard and Linda Thompson, “The Calvary Cross”] The album itself had been cheap to make — it had been recorded in only a week, with Thompson bringing in musicians he knew well and had worked with a lot previously to cut the tracks as-live in only a handful of takes — but Island didn’t think it was worth releasing. The record stayed on the shelf for nearly a year after recording, until Island got a new head of A&R, Richard Williams. Williams said of the album’s release “Muff Winwood had been doing A&R, but he was more interested in production… I had a conversation with Muff as soon as I got there, and he said there are a few hangovers, some outstanding problems. And one of them was Richard Thompson. He said there’s this album we gave him the money to make — which was I Want to See the Bright Lights Tonight — and nobody’s very interested in it. Henry the Human Fly had been a bit of a commercial disappointment, and although Island was altruistic and independent and known for only recording good stuff, success was important… Either a record had to do well or somebody had to believe in it a lot. And it seemed as if neither of those things were true at that point of Richard.” Williams, though, was hugely impressed when he listened to the album. He compared Richard Thompson’s guitar playing to John Coltrane’s sax, and called Thompson “the folk poet of the rainy streets”, but also said “Linda brightened it, made it more commercial. and I thought that “Bright Lights” itself seemed a really commercial song.” The rest of the management at Island got caught up in Williams’ enthusiasm, and even decided to release the title track as a single: [Excerpt: Richard and Linda Thompson, “I Want to See the Bright Lights Tonight”] Neither single nor album charted — indeed it would not be until 1991 that Richard Thompson would make a record that made the top forty in the UK — but the album got enough critical respect that Richard and Linda released two albums the year after. The first of these, Hokey Pokey, is a much more upbeat record than their previous one — Richard Thompson has called it “quite a music-hall influenced record” and cited the influence of George Formby and Harry Lauder. For once, the claim of music hall influence is audible in the music. Usually when a British musician is claimed to have a music ha

Oliver drops his brand new song with Aevion "Amnesia", his new HI-LO track with Tai Woffinden "Orange Theme" and new bangers from ATRIP & DJ Seinfeld, DJ HEARTSTRING, Township Rebellion, Midnight City, Don Diablo, Zerb, LUSU, Space 92, Lilly Palmer & Maddix and loads more on a fresh #HeldeepRadio! #heldeepradio | https://twitter.com/OliverHeldens | https://www.facebook.com/OliverHeldens

Programa completo del domingo en la Trinchera tras el ataque de Estados Unidos y las investigaciones de la UCO

In this episode of the Pencil Pushers podcast, host Mike Rosado interviews Judd Winick, a celebrated comic creator known for the Hilo series. The conversation covers Judd's diverse career in comics, animation, and reality TV. He reflects on his experience as a cast member of MTV's The Real World, the impact of his late friend Pedro Zamora, and his subsequent memoir ‘Pedro and Me.' Judd shares insights on his education, work with DC Comics, and how his career evolved into creating the successful Hilo book series. The discussion also touches on his extensive work illustrating for the Complete Idiots Guide series and his journey through various creative endeavors. Host: Mike Rosado (mrcraleigh.com) (instagram.com/ekimodasor) Post Production: Max Trujillo (instagram.com/trujillomedia) Sponsors: MRC (mrcraleigh.com) and Burny Wild's (burnywilds.com) 

Isabella “Bella” Hughes is a repeat founder, mentor, and angel investor with experience spanning the arts, entrepreneurship, and emerging CPG. Born and raised in Honolulu, she splits her time between Austin and Hilo. Currently, she's the chief revenue officer and co-founder of Better Sour, a globally inspired sour candy brand founded with her lifelong best friend. She also co-founded Hawaiʻi Contemporary and Shaka Tea, and most recently was honored by Inc. Magazine as one of 2025's Female Founders 500. Social: www.bettersour.com  @eatbettersour

Cùng nhạc sĩ Phạm Toàn Thắng re-act các sản phẩm:CON SINH RA LÀ ĐỂ PHI THƯỜNG - Avi Kim Anh - H'Hen NiêYêu Rồi Để Đó (album Thanh xuân không phải để khóc) - Đông Thiên Đức - Đàm Vĩnh Hưng Thiên mệnh – 1nG, Hải Đăng Doo - Quân A.P ft Hải Đăng DooAlbum Khúc tình xưa – Lệ QuyênCity Hunter (Con mồi) - NIMBIA x Duy Mạnh ft FeezyCHƠI KÉ - Nguyễn Tuấn Kiệt - LĂNG LD Sorry My Honey - Cầm KHÓC BLÓCK - PHÙNG KHÁNH LINHAAA - Liên Quân 2 (Liên quân 2 gồm nhóm trưởng Tiên Tiên và 14 thành viên như Phương Mỹ Chi, Châu Bùi, Lâm Bảo Ngọc, Han Sara, Pháo, Juky San,…)

This week, Danny Avila & Matt Sassari takeover Experts Only Radio.1. Danny Avila & Matt Sassari - Diamonds 00:00:072. Danny Avila, Sam Wolfe & HNTR - YES B!TCH ft. Rome Fortune 00:04:103. Beltran - Smack Yo' (Danny Avila Remix) 00:07:204. Karney - Delante 00:11:125. Adam Beyer - Taking Back Control 00:16:186. X-Dream ft. Ariel Electron - We Interface (Alex Stein & Victor Ruiz Remix) 00:20:257. Karla Blum - Take It 00:24:478. Massano - Fama Land 00:29:419. Eli Brown & HNTR - gimmE gimmE 00:33:3310. Danny Avila - Chase the Sun 00:37:2711. Ad-Apt & Lilly Palmer - Party Don't Stop 00:42:0712. Eli Brown - Wavey 00:46:5813. Space 92 ft. Malena Narvay - Formula Loca 00:50:5114. HI-LO & Danny Avila - Paradise 00:54:1815. Danny Avila & Matt Sassari - Diamonds 00:58:5416. Matt Sassari & HNTR - ID 01:02:2117. Matt Sassari - Sexy 01:05:3118. Matt Sassari & CHRSTPHR - Naughty 01:09:5219. Dreya V - Up Front 01:13:0020. Matt Sassari - ID 01:15:5821. Maesic - Life Is Simple (Script Remix) 01:19:4322. John Summit - Light Years (Matt Sassari Remix) 01:23:2123. Zaark - Your Mind 01:27:3624. Matt Sassari & Martin Books - ID 01:31:4325. Matt Sassari, Maesic & Gene Farris - ID 01:34:2226. Tiësto, Odd Mob & Goodboys - Won't Be Possible 01:37:2327. Matt Sassari & CHRSTPHR ft. Barbatuques - Baiana 01:40:0328. Bob Sinclar - Take It Easy On Me (Mosimann Remix) 01:43:2029. Delerium - Silence (John Summit Remix) 01:46:2930. Ede - Your Love 01:51:1331. Crewcutz - Peekaboo 01:55:3432. Rafael - Say Wha 01:57:30

This episode is full of new and exclusive music. Don't miss it! 1. Goshfather - Where Were U 2. Kevin Palacios - Don't Go 3. D.O.D, RAHH - Sunshine 4. Audien & MAKJ - Slide Away (ft. Julia Church) 5. Ed Sheeran - Azizam (D.O.D Remix) 6. Tim Hox - Mature 7. Voost - Closer 8. longstoryshort – DON'T DO IT 9. Henry Fong - That Sound 10. Glass Petals - Crazy Shit 11. HNTR - Victory 12. Sick Individuals & Vikkstar - Hole In The Head (Club Rework) 13. HI-LO, Temper, Oliver Heldens - Work That Body 14. Josh Le Tissier - Shut It Down 15. Bassjackers - Beethoven's Aria Fur Elise 16. Space 92, Malena Narvay - Formula Loca 17. Hardwell & Joey Dale feat. Luciana - Arcadia (VIVID Remix)

KeFrod drop new music from Kosling & Waxel ft. Jordan Grace, Lucas & Steve & LAWRENT & Izzy Bizu, Jay Hardway, Gabry Ponte & Nicky Romero, HI-LO, Dirty Signal & 2ACES, Primeshock, Rebelion, on a brand new #EDMRadioShow!

A small plane experiencing landing gear issues made a rough landing at Honolulu’s airport. A judge orders UFC Hall of Famer BJ Penn to immediately move out of the Hilo home he shares with his mother. And on Hawaii Island, Kilauea's current episode is producing lava fountains 1,000 feet in the air!See omnystudio.com/listener for privacy information.

01. Justus - Flashback 02. Curbi - East Bounce 03. Anyma, Baset - Neverland (From Japan) 04. Matt Sassari, Chrstphr - Gold Touch 05. Hi-Lo, Space 92 - Arpeggio 06. Mark Bale, Noel Holler, Alyshia - Let Me Go 07. Plastik Funk, Chester Young, Hackatone - Digital Safari 08. Mr. Belt & Wezol, Nukey, Jose De Mara - D.R.A.M.A. 09. Trilago, Urbano - Phone 10. Block & Crown - He Made It Bangin 11. Benny Benassi, Nu-La - Give Me Your Love 12. Roc Dubloc - Going Back 13. Eric Spike, Alex Martin - We've Got Us 14. Black V Neck, Gawp, Juush, Gaby G - Losing My Head 15. Venga - Go Stupid 16. Moby, Blond Ish, Kiko Franco - Natural Blues 17. David Penn, Vintage Culture, Raphaella - Just Stay The Night 18. Francky D, Sessi D, Stas Simple - Come To Party 19. Dubdogz, Volkoder - Drink 20. Almero - Everything I Need 21. Zuffo - Believe 22. Firebeatz - Charged Up 23. Ban Dello - Only Friends 24. Claptone, Sea Girls, Henry Camamile - Put Your Love On Me 25. Shiba San, Cid, All U Need - Bring It Back 26. Efim Kerbut - Refrescante 27. Bingo Players, Mohtiv - Want It All 28. San Pacho - Soundboy 29. Shelco Garcia, Teenwolf - Say Too Much 30. Dannic, Fedo - Lemongotti 31. Niiko X Swae - International Party Girl 32. Vito V - Fast Love 33. Rumpus - Set It Off 34. Almanac - Bounce For Me 35. Dillon Nathaniel - Break The System 36. Swedish House Mafia, Alicia Keys, Dj Dlg - Finally 37. Moguai - Ready Steady Go 38. Sqwad - 79 Echoes

01. Justus - Flashback 02. Curbi - East Bounce 03. Anyma, Baset - Neverland (From Japan) 04. Matt Sassari, Chrstphr - Gold Touch 05. Hi-Lo, Space 92 - Arpeggio 06. Mark Bale, Noel Holler, Alyshia - Let Me Go 07. Plastik Funk, Chester Young, Hackatone - Digital Safari 08. Mr. Belt & Wezol, Nukey, Jose De Mara - D.R.A.M.A. 09. Trilago, Urbano - Phone 10. Block & Crown - He Made It Bangin 11. Benny Benassi, Nu-La - Give Me Your Love 12. Roc Dubloc - Going Back 13. Eric Spike, Alex Martin - We've Got Us 14. Black V Neck, Gawp, Juush, Gaby G - Losing My Head 15. Venga - Go Stupid 16. Moby, Blond Ish, Kiko Franco - Natural Blues 17. David Penn, Vintage Culture, Raphaella - Just Stay The Night 18. Francky D, Sessi D, Stas Simple - Come To Party 19. Dubdogz, Volkoder - Drink 20. Almero - Everything I Need 21. Zuffo - Believe 22. Firebeatz - Charged Up 23. Ban Dello - Only Friends 24. Claptone, Sea Girls, Henry Camamile - Put Your Love On Me 25. Shiba San, Cid, All U Need - Bring It Back 26. Efim Kerbut - Refrescante 27. Bingo Players, Mohtiv - Want It All 28. San Pacho - Soundboy 29. Shelco Garcia, Teenwolf - Say Too Much 30. Dannic, Fedo - Lemongotti 31. Niiko X Swae - International Party Girl 32. Vito V - Fast Love 33. Rumpus - Set It Off 34. Almanac - Bounce For Me 35. Dillon Nathaniel - Break The System 36. Swedish House Mafia, Alicia Keys, Dj Dlg - Finally 37. Moguai - Ready Steady Go 38. Sqwad - 79 Echoes

Lahaina families and their supporters are urging the County Council to pass a bill that would phase out thousands of short-term rentals. Los Angeles braces for a possible fourth day of protests following ramped-up federal immigration raids, after President Trump ordered two thousand National Guard troops to patrol the city. It has been nearly a week since the Hokulea and Hikianalia departed from Hilo, and they are making steady progress towards French Polynesia.See omnystudio.com/listener for privacy information.

Oliver drops music from Interplanetary Criminal, Don Diablo & Nelly Furtado, Anyma, Voost, Sammy Virji & Skepta, Adam Beyer & Chris Avantgarde, Funk Tribu and also his brand new HI-LO record "United In Trance" on a fresh #HeldeepRadio! #heldeepradio | https://twitter.com/OliverHeldens | https://www.facebook.com/OliverHeldens

Hoy la cosa va de la DIGNIDAD, esa cuestión… Lucia no hace un repaso de como la DIGNIDAD en los últimos decenios era un concepto ligeramente distinto para hombre y para mujeres, por supuesto, habla de Britney. Hay que hablar de Britney cada dos podcasts.  Un repaso histórico de lo que ha sido “una mujer digna” para el heteorpatriarcado que no te va a dejar indiferente. Te vas a enfadar, claro. Yo también.  Isabel viene a hablarnos de, atentas, AUTOAYUDA. Se ha leído 32 libros de esos y es la Paolo Coelho de Chamberí. De verdad que sacando corta de este podcasts te podrías hacer uno de.. de, deeee, bueno de esos otros, ejem, guiño-guiño-codazo-codazo. Amor propio, limites, autocuidados y otras cosas raras que nos explica Isabel y que claro, como en cada programase las ha creído. También cita a Cicerón. Hilo rojo y mindfulness, pero con perspectiva de género amigas.  Un Deforme especial en Valencia a donde volveremos lo antes que podamos.  __________________________________   Este programa y todo lo demás es posible gracias a personas como tú.  Accede a contenido extra en nuestro Patreon: patreon.com/deformesemanalY para más risas, ven a vernos a los teatros: linktr.ee/deformesemanalidealtotal  Learn more about your ad choices. Visit megaphone.fm/adchoices

John showcases a harder edge in this episode with tracks from Hamdi, OMNOM, Tini Gessler, HI-LO, Bart Skils, Rafael, Discip & more.Experts Only Intro 00:00:001. Biscits - Freak (GREG Remix) 00:00:07 2. Discip - Raw Control 00:06:18 3. Dennis Cruz ft. Pumpkin – Monochrome 00:08:46 4. Rafael & Mishell – Naaa 00:10:45 5. Max Dean, Luke Dean & Locky - Can't Decide 00:13:41 6. Josh Baker & Omar+ - Back It Up (James Poole Remix) 00:16:36 7. Bart Skils & Heerhorst – YKSI 00:19:16 8. Zonderling & HI-LO vs Kx5 - Variant vs Escape (Edit) 00:22:51 9. Enrico Sangiuliano - Techno Code 00:26:09 10. Tini Gessler - Come Around 00:32:05 11. Fatboy Slim - Right Here Right Now (Dave Summer Edit) 00:35:35 12. Delerium ft. Sarah McLachlan - Silence (John Summit Remix) 00:39:24 13. Heerhorst – Hola 00:44:32 14. OMNOM & Marco Strous - Everyone's Your Friend 00:49:40 15. Sammy Virji & Interplanetary Criminal - Damager (Hamdi Edit) 00:52:25 16. Rohaan – Pelican 00:54:28 17. Left/Right & E.R.N.E.S.T.O - Deeper 00:56:59

Isabel Diaz Ayuso y Carlos Mazón, dos líderes regionales de la misma generación, están en este momento unidos por el juicio político, moral y en los tribunales de su gestión ante una catástrofe. Cinco años después, en Madrid dos ex altos cargos del Gobierno autonómico están imputados por los protocolos de no derivación a hospitales de los residentes en geriátricos públicos y concertados en lo peor de la COVID. Más de 7.000 personas murieron por la enfermedad solos y sin ningún tipo de asistencia. En Valencia, solo medio año después de la DANA, hay dos altos cargos políticos del Gobierno de Mazón imputados por la muerte de 227 personas en la riada. Mazon no está imputado todavía sencillamente porque está aforado. Con Raquel Ejerique, adjunta al director de elDiario.es y que ha seguido de cerca ambos asuntos, comentamos los paralelismos entre la actuación de los dos responsables públicos cuyas repercusiones les perseguirán para siempre. *** Envíanos una nota de voz por Whatsapp contándonos alguna historia que conozcas o algún sonido que tengas cerca y que te llame la atención. Lo importante es que sea algo que tenga que ver contigo. Guárdanos en la agenda como “Un tema Al día”. El número es el 699 518 743See omnystudio.com/listener for privacy information.

We're in Hilo where Hokulea and Hikianalia remain dockside; their departure to French Polynesia delayed due to weather. Plus four men, all 20 and younger, were arrested over the weekend in connection with a deadly shooting in Makaha.See omnystudio.com/listener for privacy information.

Opponents of the Thirty Meter Telescope are claiming victory. Why they aren't out of the woods just yet. A delay in Hokulea's departure from Hilo. When Hokulea has now scheduled to set sail. President Trump's multi-trillion dollar tax and spending package is being considered this week. What one local tax expert says about potential impacts here at home.See omnystudio.com/listener for privacy information.

Episode 23 of ClubHaus Radio features the best in progressive house & trance, including new music from PROFF, Because of Art, Vintage & Morelli, HI-LO, and many more. This month's Resident Record is a long awaited ID from Hausman, and our HausGuest mix is a groove-centric set from ClubHaus' latest signing, Schuyler Ocean.Tracklist:Papfay, Thabza De Soul, Naarly - By My Side (Slow Ted Remix) [Engeloop]16BL ft. Nour - Sharks [Anjunadeep]Mats Westbroek - Heart On The Line (Jordin Post Remix) [Sekora]M.O.S. - Here I Am [Anjunadeep Explorations]Different Stage - Signals [Melody Of The Soul]Because of Art - Running [Anjunadeep]Local Singles - Catch and Kiss [Helix Records]Yuvèe - Freydies [Anjunadeep Explorations]PROFF - Glittering Puzzle (PROFF Edit) [Anjunabeats]Above & Beyond - World On Fire (PROFF Edit) [Anjunabeats]Fon.Leman & Mona Mi - Haunting Spirits [SkyTop]Dan Ficara - Zarqa [Enormous Moments]Envotion - Dream of You [Songspire]Julian Gray & Ash Nova - Don't Go Away (Porth Nole Remix) [Graydient Collective]Vintage & Morelli - Binary Synthesis [Avanti]Steve Angello - Tivoli (KREAM Remix) [SIZE Records]KREAM - Manta [Liquid Lab]Khrøne - Poison [Graydient Collective]J Ribbon - Lifetime [Anjunabeats] [TOP TRACK]John Grand - Don't Let Me Go [Euphonic]5h1a - Thawing Lake (Fazius Remix) [Embers Melody]Oliver Smith & Amy J Price - Open Up [Anjunabeats]Alex Sonata & TheRio - Crescendo [Anjunabeats]Taygeto - Grit [AVA]Alex Sonata & TheRio x Elevven - Blue Java [Anjunabeats]Hausman - Ripper [ClubHaus] [RESIDENT RECORD]HI-LO & Sarah De Warren - Born To Love [HILOMATIK]HI-LO & Temper - Work That Body [Armada]Tim Hox - Mature [The Myth of NYX]Mason - Exceeder (UMEK & Mike Vale Remix) [Armada] [CLUB CLASSIC]HausGuest: Schuyler OceanSchuyler Ocean & Eunith - Holdin' On [ClubHaus]Carl Bee - Sinfonia [Diynamic]YOTTO & Something Good - Love Shop [Anjunadeep]Because Of Art - Fired Up [Anjunadeep]Crackazat - In The Sky [Heist Recordings]Weekend Heroes, Ruback, Mila Journée - The Wall [Diynamic]Qrion & Blake.08 - Pushing Up [Anjunadeep]True School Players - Blow Your Mind [Bambossa Records]Carlo Whale, Th;en, Innellea - Inside Your Mind [belonging]Hausman & Discognition - Red Alert [ClubHaus]Sandy Rivera, Cristoph, Hayze - Changes [Defected]Tholin - ID [White]Michael Cassette - Memories (90's Piano Mix) [Anjunadeep]Follow Hausman:www.hausmanmusic.comwww.facebook.com/hausmanmusicwww.instagram.com/hausman.musicwww.twitter.com/hausman_musicwww.soundcloud.com/hausmanmusic Follow me on Twitch to catch it LIVE!twitch.tv/hausmanmusic

The Positive mood is in the Manytech podcast the third episode. Enjoy! ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

We wrap up my interview with Judd Winick by starting on his decision to bring back Jason Todd (the 2nd Robin) from the dead as The Red Hood, then move on to his work during the New 52 at DC, the animated shows he worked on, and finally get to his decade-plus work writing and drawing the Hilo series of books. But first, a remembrance for another comics book professional who left us too soon.

1175. En este #LunesPodcastero quiero compartir contigo una nueva entrega de mi repaso al hilo de recomendaciones de podcast que empecé hace ya unos cuantos años en Twitter. Hoy llego ni más ni menos que al repaso número 24, lo que significa que ya he recomendado 240 podcasts en este formato y lo más sorprendente es que muchos de esos podcasts todavía siguen activos. Poca broma con esto, ya que hay que tener en cuenta que algunas de estas recomendaciones tienen más de 8 años.En este bloque de hoy, que va del número 231 al 240, hay podcast de todo tipo. Empezamos con “No es otro lunes de mierda”, un podcast de variedades creado por Antonio Poveda, que duró apenas nueve episodios pero que dejó huella, sobre todo por la historia personal que hay detrás de su creador. Seguimos con “El Valle de los Tercos”, un podcast imprescindible si te interesa el mundo de las startups y la innovación en Silicon Valley, contado además por voces latinas que se abren camino en ese ecosistema tan competitivo.También hay espacio para la astronomía con “Luces extrañas”, un podcast muy personal en el que su autor describe sus sesiones de observación estelar, sin necesidad de imagen, solo con su voz. Vuelve a aparecer “Kafelog”, uno de los podcasts más míticos del panorama nacional, y que sigue regresando de vez en cuando con nuevos episodios. Pasamos a la crítica cinematográfica con “Cueva de Ficción”, que ya cerró, y “Visión de Confluencia”, otro proyecto multitemático que también dejó de publicarse, pero que aún se puede escuchar. Entre las recomendaciones más llamativas está “Cómeme el podcast”, con su enfoque abiertamente erótico, y “Sonora Podcast”, que une cine y música en forma de bandas sonoras. También aparece “Crónica en Negro” en este repaso, que sigue muy activo con sus investigaciones sobre sucesos reales y crímenes documentados, y “Webbtertainment”, un podcast sobre cine, series y música que, pese a altibajos y cambios de usuario en redes sociales, sigue publicando con una buena dosis de pasión. Todos estos proyectos forman parte de esta podcastfera tan variada, tan rica, que me gusta tanto compartir cada semana. Como siempre, te voy a dejar los enlaces a todos los podcasts que menciono a continuación:No es otro lunes de mierda:https://pod.link/1258534422El Valle de los Tercos:https://pod.link/1165538814Luces Extrañas:https://pod.link/1037386222Kafelog:https://pod.link/214216371Cueva de Ficción:https://pod.link/1254997824Visión de Confluencia:https://pod.link/1224208163Sonora Podcast:https://www.ivoox.com/podcast-sonora-podcast_sq_f1385965_1.htmlCrónica en Negro:https://www.ivoox.com/podcast-cronica-negro_sq_f1316620_1.htmlWebbtertainment:https://pod.link/1276477290Cómeme el podcast:https://pod.link/1293875976_________________¡Gracias por pasarte 'Al otro lado del micrófono' un día más para seguir aprendiendo sobre podcasting!Si quieres descubrir cómo puedes unirte a la comunidad o a los diferentes canales donde está presente este podcast, te invito a visitar https://alotroladodelmicrofono.com/unetePor otro lado, puedes suscribirte a la versión compacta, sin publicidad y anticipada de este podcast, 'El destilado del micrófono' a través de la plataforma Mumbler a través de: https://alotroladodelmicrofono.com/destilado (Puedes escucharlo en cualquier app de podcast mediante un feed exclusivo para ti).Además, puedes apoyar el proyecto mediante un pequeño impulso mensual, desde un granito de café mensual hasta un brunch digital. Descubre las diferentes opciones entrando en: https://alotroladodelmicrofono.com/cafe. También puedes apoyar el proyecto a través de tus compras en Amazon mediante mi enlace de afiliados https://alotroladodelmicrofono.com/amazonLa voz que puedes escuchar en la intro del podcast es de Juan Navarro Torelló (PoniendoVoces) y el diseño visual es de Antonio Poveda. La dirección, grabación y locución corre a cargo de Jorge Marín. La sintonía que puedes escuchar en cada capítulo ha sido creada por Jason Show y se titula: 2 Above Zero.'Al otro lado del micrófono' es una creación de EOVE Productora.

1: G-POL - Renegade Master (Don Diablo Edit) 2: MAX STYLER - Need You Tonight3: RENCEAU - Body Soaking Wet4: ALOK, ŁASZEWO & A$AP ROCKY - Highjack (Right Back) (Extended Mix) 5: CHRIS LAKE, ABEL BALDER - Ease My Mind (Odd Mob Extended Remix)6: MOLIY - Shake It To the Max (Major Lazer remix)7: SALVATORE GANACCI - Berserk (Original Mix)8: JADED – Last Time LISTENERS' CHOICE8:          G.D. - Choral Reef (Original Mix) 10: TENNANT -My Sound11: HRRTZ - You Save My Life (Extended)12: JUNIOR SANCHEZ - Gargantuas13: CROSSCROSS – True Booty13: YORK & ADAM NOVY - If I Were A Snowflake  TRIED & TESTED14: X-COAST - Da Boing Boing Trak S 15: VS PRJCT - Saint Barth Addicted 16: CURBI, AC SLATER & BIG WETT - Psycho (Extended Mix) 17: JOHAN S - Rollin' (Extended Mix) GUEST SELECTION: HOAX (BE)  Hoax (BE), Angelique Kidjo  - Fired Up (Extended Mix)Hoax (BE), Bohm - Desire  THE WARM UP SELECTION 18: SIMONE VITULLO - If I Ever Lose My Faith19: COEO - Fantasy (Edit)20: BORNE - Go Agains21: ABOVE & BEYOND AND ZOË JOHNSTON - Carry Me Home (Extended Mix) THE MAINSTAGE MIX  22: HI-LO & TEMPER – Work That Body23: CLUB ANGEL - Burna24: NIFRA - Madness (Extended Mix)25: SIGNUM - Believe (Extended Mix)26: JAMESJAMESJAMES – One In A Million27: TRANCE MUMS - Love Always (Extended Mix)28: PAUL OAKENFOLD, PLANET PERFECTO KNIGHTS & KIMMIC - ResuRection (Original Mix)29: SØNIN & BLR feat. BRIEANNA GRACE - Rush (2AM Club Mix) 

En este episodio de El Pirra-ta de Corazón hablamos de:

KSHMR premieres his brand new collab with Ryos "The Chant" and drops new music from Maurya Sevak, Hardwell, Tiësto, Odd Mob & Goodboys, Axwell, Calvin Harris, HI-LO, The Rocketman and many more on a fresh #DharmaRadio! Valeriya Denga, Aleksandr Fill - Exotica 00:39Zonderling - Zakkenroller 04:41SHAF, Hassan El Shafei - Mafeesh Mostaheel (feat. Abd El Basset Hamouda) 07:14Adem Bogoceli x Farenthide - Yimanya 11:51Ivax - Revolution 13:23MORTEN & ARTBAT - Culture 15:57Calvin Harris - Blessings (feat. Clementine Douglas) 17:05Tiësto, Odd Mob, Goodboys - Won't Be Possible 21:17R3HAB - The Chase 23:29Axwell - Until The Lights Go Out (feat. Carma) 24:43Maurya Sevak - Mantra 25:55W&W x KSHMR - Bad 29:19Olly James - Synergy 32:26KSHMR & Ryos - The Chant 35:31Hardwell - Lift Off 39:50HI-LO - United In Trance 43:43Armin van Buuren & BLR - Bach To The Future 47:08Eli Brown - Wavey 50:48The Rocketman - Loca 54:06Gigi D'Agostino x LIZOT x Widemode - Yo Te Dare 57:30

Special Episode with Loudek Live Set from Ultra Peru 2025. Recorded LIVE on April 19th 2025. Tracklist 1. Loudek - Dreaming (ULTRA PERU 2025 INTRO) w/. We are Legends w/. Dat Mama w/. Datass w/. Dope iz Dope w/. Dreamin 2. Green Velvet - Percolator (Bontan Remix) w/. Lujan Fernandez - Take It Back (Loudek Edit) 3. Keinemusik - Say What (Emilio Verde Remix) 4. Cloonee, Young M.A, InntRaw - Stephanie (Benny Edit) 5. Loudek - Dat Mama [BLANC / SOUR] 6. Vestendo & HOSANNA - Drum Death [EXPERTS ONLY] 7. Freenzy Music & Ric Jay - Baile In Braza [ORGANIC PIECES] 8. Loudek - Popotao Grandao [UNRELEASED] 9. Jungle Jack & Gameroloco - Que Sera [ORGANIC PIECES] 10. Travis Scott feat. Playboi Carti - FE!N (Arzenic Edit) 11. Fergie - Take U there [ARMIND] 12. HI-LO & Green Velvet - Lift Me Up [HILOMATIK] 13. The Chemical Brothers - Do it Again (AYYBO Edit) 14. Oliver Heldens feat. Nile Rodgers & House Gospel Choir - I Was Made for Lovin´You [RCA] 15. GREG (BR) - Ibiza Nights [CATCH & RELEASE] 16. Loudek & Arsenic - Dope iz Dope [WYLDCARD] 17. Cloonee & GREG (BR) - Still My Baby [HELLBENT] 18. Loudek - Eyesight [HAPPY TECHNO] 19. Gorillaz , Tame Impala & Bootie Brown - New Gold (Dom Dolla Remix) w/. Thomas Newson - Rotate (Loudek Edit) 20. John Summit feat. Inéz - Light years [EXPERTS ONLY]

Wafanyakazi wa misaada wa Umoja wa Mataifa leo wamesema kwamba bado wanangoja kibali kutoka kwa Israel ili kusambaza msaada wa kuokoa maisha ulioruhusiwa kuingia Gaza mwanzoni mwa wiki ambapo malori matano yalifanikiwa kuingia baada ya vikwazo kwa wiki 11. Flora Nducha na taarifa zaidi

Luke 9:23-26 The Cost of Discipleship Pastor Ron Brav Calvary Chapel Hilo by Upcountry Calvary

1: KC LIGHTS - Choose Love ft. Marlo Rex (Extended Mix)2: CAIUS & NYAROL – Be The First One3: G-POL - Renegade Master (Don Diablo Edit) [Extended Mix]4: WUKI - Ain't It Fun5: SWOOSH – Stars Above6: KAREEM ALI - Liberation7: EFFEND - Play Right - Miami Sun Machine remix8: ALL SAINTS - Pure Shores (Tourist Remix)  LISTENERS' CHOICE8:          Never Enough (Chocolate Puma Mix) - Boris Dlugosch 10: TENNANT -My Sound11: HRRTZ - You Save My Life (Extended)12: JUNIOR SANCHEZ - Gargantuas13: CROSSCROSS – True Booty13: YORK & ADAM NOVY - If I Were A Snowflake  TRIED & TESTED14: X-COAST - Da Boing Boing Trak S 15: VS PRJCT - Saint Barth Addicted 16: CURBI, AC SLATER & BIG WETT - Psycho (Extended Mix) 17: JOHAN S - Rollin' (Extended Mix) GUEST SELECTION: FRANKYEFFEFRANKYEFFE - SAVE ME Frankyeffe - Starlight   THE WARM UP SELECTION 18: SIMONE VITULLO - If I Ever Lose My Faith19: COEO - Fantasy (Edit)20: BORNE - Go Agains21: ABOVE & BEYOND AND ZOË JOHNSTON - Carry Me Home (Extended Mix) THE MAINSTAGE MIX  22: HI-LO & TEMPER – Work That Body23: CLUB ANGEL - Burna24: NIFRA - Madness (Extended Mix)25: SIGNUM - Believe (Extended Mix)26: JAMESJAMESJAMES – One In A Million27: TRANCE MUMS - Love Always (Extended Mix)28: PAUL OAKENFOLD, PLANET PERFECTO KNIGHTS & KIMMIC - ResuRection (Original Mix)29: SØNIN & BLR feat. BRIEANNA GRACE - Rush (2AM Club Mix) 

En este episodio cubrimos los eventos más importantes tras la apertura del mercado: • Wall Street busca cerrar semana con 5 al hilo: Futuros al alza: $SPX +0.2%, $US100 +0.2%, $INDU +0.3%. El PPI de abril sorprendió a la baja, reforzando expectativas de recortes de tasas por parte de la Fed. Hoy se espera el dato de confianza del consumidor de mayo (53.1 estimado) y los precios de importación/exportación. El bono a 10 años cae a 4.41%, y el de 2 años a 3.95%. • GlobalWafers expande inversión en EE.UU.: $GFS anunció una ampliación de su inversión en Texas hasta $7.5B, tras inaugurar una planta de $3.5B en Sherman. La empresa recibirá $406M del programa CHIPS for America. Esta será la mayor instalación de obleas de silicio en EE.UU., clave para la cadena de semiconductores junto a $TSMC. • WeRide lanza robotaxis autónomos en Abu Dhabi: $WRD comenzó operaciones sin conductor de seguridad en vías públicas de Abu Dhabi. Planea expansión a Al Maryah Island y Al Reem Island. Su CFO destacó la ventaja competitiva de $WRD en entornos urbanos. Las acciones suben +2.7% premarket a $9.00. Una jornada que apunta a consolidar optimismo macroeconómico, liderazgo tecnológico y crecimiento global. ¡Dale play y no te lo pierdas!

Amber Drake is a current graduate student attending UH at Hilo, studying clinical mental health counseling and graduating in May 2025. She's doing an internship at Aloha House, a partial hospitalization program, volunteers with NAMI Maui, sits on the state board of directors with NAMI Hawaii, is a NAMI Maui affiliate leader, and is certified as a youth mental health first aid instructor. Amber sat down with us to share her story about how NAMI helped her recover from mental illness, which led her to a career in the mental health field and active participation with the organization that helped her. Nat'l Alliance on Mental Illness: https://www.nami.org/ Aaron Potratz & Nathan Hawkins are behavioral health experts, licensed counselors, and clinical supervisors with over 35 years of experience. They each own a private group therapy practice and co-own a third one together. Aaron is also a business consultant for therapists in private practice wanting to start, grow, or expand their business. *Now on YouTube: @shrink-think *Sign up for our FREE email course on overcoming fear and insecurity at: https://www.shrinkthink.com/podcast -------------- *Member of the PsychCraft Podcast Network* https://psychcraftnetwork.com/

Zeskullz Presents mixtape by: ACRAZE 01. ACRAZE, HNTR, Bolsen - God's Call 02. Adam Beyer - Circus Freaks 03. HILLS - Coolin 04. Matroda - Good Girls 05. Noizu & Annaca - Dancing In The Dark 06. Piero Pirupa, LIONEEL - The Volume 07. Anyma x Ellie Goulding - Hypnotized 08. TOBEHONEST - Hey Ya 09. Nicola Gavino - Pump Up 10. ZDS - Drugs 11. ACRAZE x Lil Mabu - Take Ya B 12. Discip - Soso 13. Matt Faulk - WHOA! (feat. Dances) 14. Lee Foss, Detlef & TheConnect - Pony feat. Spektrum 15. Layton Giordani - Act Of God ft. Linney, Sarah De Warren 16. Westend & Dave Summer - Love Spell 17. RUZE & Chesster - Join The Trip 18. Riordan - Gimme 19. HI-LO, Kasablanca - INFERNO 20. Cloonee, Young Ma, InntRaw - Stephanie (HNTR Remix)

“Walking in the shadow of a giant” si jambo rahisi—na inakuwa ngumu zaidi pale “Giant” huyo akiwa  ni Augustine Mahiga, mwanadiplomasia mashuhuri wa Tanzania, na wewe ni mtoto wake wa kiume, unayejulikana kama Andrew Mahiga.Kwa wengi, jina la mwisho linaweza kufungua milango, lakini je, kila nafasi unayoipata ni kwa sababu ya uwezo wako au kwa sababu unaitwa Mahiga? Hilo ndilo swali ambalo Andrew amekuwa akilazimika kulikabili katika safari yake ya kujitambua.Katika episode hii ya kipekee ya Men Men Men: The Podcast, Andrew anakaa nasi na kufungua moyo wake kuhusu changamoto za kuishi na jina kubwa, shinikizo la kulingana na hadhi ya baba, na hatimaye furaha aliyopata alipogundua kuwa—ndiyo, yeye ni mtoto wa baba yake, lakini si lazima awe kama baba yake.Zaidi ya hayo, Andrew anazungumzia kwa kina umuhimu wa mentorship kwa wanaume—na jinsi kuwepo au kutokuwepo kwa wanasihi kunaweza kumjenga au kumvunjilia mbali mwanaume wa Kitanzania.Baada ya kuisikiliza episode hii, utaelewa kwa nini tumeiita: "Embracing the Legacy, Creating My Own Path."

#HeldeepRadio 565 is live with brand new bangers from Solardo & LOWES, KETTAMA, Wuki, Cassian, Loofy, IN PARALLEL & Baika, Sammy Virji, Eli Brown, Wehbba, Adam Beyer and Oliver drops his new HI-LO track "Work That Body"! #heldeepradio | https://twitter.com/OliverHeldens | https://www.facebook.com/OliverHeldens

01. Robin Schulz, Nervo, Koppy - Freaking You Out 02. Camelphat, Vomee - Needed You 03. Butter - Taka Taka 04. Skytech - Sinner 05. Tchami, Ootoro - Late Night Secret 06. Hi-Lo, Temper, Oliver Heldens - Work That Body 07. Yves V, Barefoot - Strike A Pose 08. Vion Konger, Melo.Kids - Gettin' Jiggy Wit It 09. Burners! - Morita 10. Weiss (Uk), Louise Marshall - Promises 11. Kapuzen - Make Your Move 12. Tony Romera - Time To Move 13. Jay Robinson - React 14. Brohug - Teaser 15. Linkin Park, Chester Young - Good Things Go 16. Arkins, Castle J, Rain - Feelin The Vibe 17. Bob Sinclar - Cruel Summer 18. Kvsh, Future Skies - DNA 19. Nicky Romero+Giacobbi+Fatboi - Move It (Rapidin) 20. Firebeatz, Giorgio Dala, Sane - Hot Sauce 21. Claptone, Sea Girls, Henry Camamile - Put Your Love On Me 22. Faithless, Bebe Rexha - Dollars And Dimes 23. Fisher - Stay 24. Black V Neck, Gawp, Juush, Gaby G - Losing My Head 25. Kygo, Victoria Nadine - Can't Get Enough 26. Cosmic Gate, Ginchy - Battalion 27. Roland Clark, Mark Knight, James Hurr - Get Deep 28. Kream - Manta 29. Azzido Da Bass, Nathalie Tineo - Rockstar 30. Moguai - Deaf by Stereo 31. Sikdope - Down With The Rhythm 32. Diego Miranda, Dixie, Ilse - Yesterday 33. Diplo, Vavo, Priscilla Block - Bullet 34. Don Diablo - Freek Like Me 35. Chapter, Verse - Jump n' Shout 36. Tiesto, Rafael Cerato - Cool 'N Calm 37. Scooter, Harris, Ford With Shibui - Gimme That Noise

Welcome back to Maxximize On Air! Thanks for joining us, and until next week... keep it maxximized! 01 AVIRA & ENNEA - this is the meta (Extended Mix) 02 Julian Jordan - Something To Believe In (Extended Mix) 03 R3HAB - The Chase (Extended mix) 04 Josh Goodwill - Divine 05 Z2 - I Want You (Volen Sentir Extended Remix) 06 Mauro Picotto & Luvstruck - Lizard 07 CYRIL, James Blunt - Tears Dry Tonight (VIP Mix) 08 Sixten - Just The Way You Are 09 Florian Picasso - When I Saw U 10 Paul Oakenfold, Planet Perfecto Knights & KIMMIC - ResuRection 11 Timmy Trumpet & Blasterjaxx feat. Chandan Shetty - We Own The Night (RCB Anthem) 12 HI-LO x Temper - Work That Body 13 Cuebrick, Niels Van Gogh - Hold Me Tonight 14 Nifra - Madness 15 Bassjackers - Hardcore MOFO 16 Police In Paris - Breathe (with Jerome) 17 SMACK, Crazy Donkey, Lee McKing – Concentrate 18 KVSH & Future Skies - DNA

Welcome back to Maxximize On Air! Thanks for joining us, and until next week... keep it maxximized! 01 AVIRA & ENNEA - this is the meta (Extended Mix) 02 Julian Jordan - Something To Believe In (Extended Mix) 03 R3HAB - The Chase (Extended mix) 04 Josh Goodwill - Divine 05 Z2 - I Want You (Volen Sentir Extended Remix) 06 Mauro Picotto & Luvstruck - Lizard 07 CYRIL, James Blunt - Tears Dry Tonight (VIP Mix) 08 Sixten - Just The Way You Are 09 Florian Picasso - When I Saw U 10 Paul Oakenfold, Planet Perfecto Knights & KIMMIC - ResuRection 11 Timmy Trumpet & Blasterjaxx feat. Chandan Shetty - We Own The Night (RCB Anthem) 12 HI-LO x Temper - Work That Body 13 Cuebrick, Niels Van Gogh - Hold Me Tonight 14 Nifra - Madness 15 Bassjackers - Hardcore MOFO 16 Police In Paris - Breathe (with Jerome) 17 SMACK, Crazy Donkey, Lee McKing – Concentrate 18 KVSH & Future Skies - DNA

1. Nick Schilder x Lucas & Steve - Something Like Magic 2. Mentum, Zack Martino - Goodbye Looks Good On You 3. Tom Enzy x Rion S - Mindeguti 4. Charmes - On Repeat 5. (SR) Marshall Jefferson, TCTS, Byron Stingily - US (ESSEL Remix) 6. NuNu Aspect & Marlo Rex - Watching Over You 7. David Guetta & Sia - Beautiful People (D.O.D Remix) 8. ALEXA PERL ft. Katie Holmes-Smith - All The Ladies (Club Mix) 9. Lucas & Steve x Tocadisco - Morumbi 10. (AOW) Mike Williams, Eirik Næss - Learn To Fly 11. Milk Bar & Stefan Makepeace - Missing You 12. Just A Matter Of Time 13. Armin van Buuren & Sam Gray - Dream A Little Dream 14. Lucas & Steve, Maynamic, Edd Blaze - Lift Me Up 15. Dom Dolla & Kid Cudi - Forever 16. R3HAB - The Chase 17 Gabry Ponte x 7 SKIES x Storm - Storm 18. HI-LO x Temper - Work That Body

En esta nueva entrega de 'El Sanedrín' en 'Carrusel Deportivo', Tomás Roncero, Jordi Martí, Miguel Martín Talavera, Miguel Ángel Chazarri y Kike Mateu analizan, junto a Yago de Vega, la situación del club blanco y Carlo Ancelotti en la previa del Real Madrid-Celta de Vigo de mañana.

En esta nueva entrega de 'El Sanedrín' en 'Carrusel Deportivo', Tomás Roncero, Jordi Martí, Miguel Martín Talavera, Miguel Ángel Chazarri y Kike Mateu analizan, junto a Yago de Vega, la situación del club blanco y Carlo Ancelotti en la previa del Real Madrid-Celta de Vigo de mañana.

Kanoelehua Robinson is Kamaka's little sister from the Big Island of Hawai'i. She's a model and flight attendant for Hawaiian airlines and also the silver child of the family behind the golden child, Kamaka. In this episode they talk about their family history, their relationship as siblings, who the family favorite is, being from Hilo, their funniest life moments, and so much more. Enjoy!Find Kanoe here: https://www.instagram.com/kanoelehua/Buy our merch on:Official website: https://keepitaloha.com/Support us on:Patreon: https://www.patreon.com/kamakadiasFollow us on:Instagram: https://www.instagram.com/keepitalohapod/Facebook: https://www.facebook.com/keepitalohapodTikTok: https://www.tiktok.com/@keepitalohapod

Hypertension isn’t a snapshot—it’s a movie, and most of us are missing the plot. Technology can outpace tradition when it’s patient-first, not doctor-first. This conversation will break new ground by flipping the hypertension narrative from a dry medical topic to a human behavior puzzle—cracking why we ignore what kills us and how tech can jolt us awake. Unlike other podcasts where Dr. Shah might recite Hilo’s specs or his CV, here he’ll wrestle with the messy realities of healthcare inertia, his own career gamble, and the psychology of change. The fresh angles—his pivot story, the unseen patient barriers, the next wearable frontier—will spark revelations Jay hasn’t unpacked elsewhere. Full show notes: https://bengreenfieldlife.com/bloodpressurepodcast Episode Sponsors: Chroma SkyPortal 2.1: If you’re serious about dialing in your desk light for both performance and sleep, check out the SkyPortal 2.1 at getchroma.co and use code BENGREENFIELD to save 10% on your order. Qualia: Support better aging with Qualia Senolytic—the first-of-its-kind formula designed to help your body naturally eliminate senescent cells. Visit qualialife.com/boundless and use code BOUNDLESS for 15% off your order. BIOptimizers MassZymes: MassZymes is a powerful best-in-class enzyme supplement that improves digestion, reduces gas and bloating, and provides relief from constipation. Go to bioptimizers.com/ben and use code BEN10 for 10% off your order. ProLon: ProLon's 5-Day Fasting Nutrition Program is scientifically tested and patented to nourish your body while keeping it in a physiological fasted state. Right now, you can get 15% off sitewide, plus a $40 bonus gift, when you subscribe to their 5-Day Program by going to ProLonLife.com/GREENFIELD. MOSH: MOSH protein bars are formulated with nutrient-dense ingredients that support brain and body function. They are a great source of vitamin D and an excellent source of vitamin B12. Head to moshlife.com/BEN to save 20% off plus FREE shipping on the Best Sellers Trial Pack.See omnystudio.com/listener for privacy information.

In episode 228 of Resonation Radio, we have new music for you by Joris Voorn, Armin van Buuren, HI-LO, OTTAGON and many more. Join the #RESONATION every Wednesday at 8 P.M. CEST!Tracklist:Ferry Corsten - Resonation Radio #228

On August 22,1993, a 16-year-old Indigenous girl from Hilo, Hawaii went out with a man she had met earlier in the day and never came home. He and two other men drugged her, sexually assaulted her and beat her. They drove her to a nearby state park and tossed her off a 20-foot cliff. But despite all this, when her family reported her missing, police wrote her off as a runaway teen. Years later, one of her killers confessed to her grisly murder and the torture she was put through. But her body has never been found. Her family has never been given the closure they need and deserve. This is the story of Sequoya Vargas . If you have any information concerning Sequoya's case, please contact: Hawaii County Police Department at phone number 808-935-3311. Listen Ad Free And Get Access to Exclusive Journal Entries Episodes: Spotify: https://open.spotify.com/show/4HEzJSwElA7MkbYYie9Jin Patreon: https://www.patreon.com/themurderdiariespod Apple: Hit subscribe/ 1 week free trail available Sponsorship Links: As a special offer for our listeners, new customers GET 15% ALL Lume products with our exclusive code - and if you combine the 15% off with the already discounted starter pack, that equals over 40% off their Starter Pack! Use code: "DIARIES" for 15% off your first purchase at https://lumedeodorant.com/ Resources: https://themurderdiariespodcast.squarespace.com/episodes Music Used: Walking with the Dead by Maia Wynne Link: https://freemusicarchive.org/music/Maiah_Wynne/Live_at_KBOO_for_A_Popcalypse_11012017 License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Lobby Time by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/3986-lobby-time License: https://filmmusic.io/standard-license Our Links: Link Hub: https://msha.ke/themurderdiaries Instagram: https://www.instagram.com/themurderdiariespod/ Edited by: https://www.landispodcastediting.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

On Christmas Eve in 1991, Dana Ireland is found tucked away in a secluded, hard to get to area of the Hawaiian subdivision Vacationland, barely clinging to life. When she finally arrives at a Hilo hospital, the damage is too severe and they declare Dana dead at 12:25am on Christmas morning. In 2023, the audiochuck team set out to tell you the story of what happened to Dana Ireland and how three men were convicted of her murder. Then in 2024, everything changed. In Chapter 1, Amanda Knox takes you through everything that happened on December 24th, 1991 and why this story is very different from the one we were originally going to tell you.  Follow and listen to Season 2 of THREE wherever you get your podcasts! ---Please consider donating to Ian's GoFundMe at https://www.gofundme.com/f/help-ian-schweitzer-after-wrongful-conviction.  You can visit www.hawaiiinnocenceproject.org and click the donate button to support them, their work and their clients. To buy Amanda Knox's new memoir, Free: My Search for Meaning, click HERE. If you have any information about the abduction and murder of Dana Ireland, we encourage you to contact the Hawai'i Innocence Project at contacthip@hawaiiinnocenceproject.org. You can also contact Crime Stoppers at (808) 961-8300 and the Hawai'i Police Department at (808) 961-2380 or visit their website Hawaiipolice.gov to submit a tip.