Podcasts about hilo

1. Dan Cooper - Different Person (Extended Mix) 2. David Forbes & Susie Ledge - Lose Ma Head 3. XiJaro & Pitch & Collide1 - The Spice 4. Ed Lynam - Mayhem (Extended Mix) 5. Tasso - Frankly 6. David Forbes - Sidewinder 7. David McQuiston - Fear (Extended Mix) 8. Niels Van Gogh - Destiny (Extended Mix) 9. Ben Gold & SUPERSTRINGS - The Whip (Extended Mix) 10. Matt Bukovski & Grande Piano - Dance Mission 11. Neelix - The Unknown (Official Airbeat One Anthem 2024) [feat. The Hitmen] [Less Vocal Extended Mix] 12. David Forbes - Alcazar (Extended Mix) 13. HI-LO & Tai Woffinden - The Orange Theme

Friday marked two years since the Maui Wildfires, we take a look at the recovery and remember those affected by the tragedy. Plus a new program in Hilo makes it easier for law enforcement to earn a degree without leaving full time duty. We'll tell you what this new partnership could mean for the community.See omnystudio.com/listener for privacy information.

KSHMR drops a global-inspired episode of #DharmaRadio featuring new music from Syn Cole, OTIOT, Armin van Buuren, Argy & MEDUZA, HI-LO, KSHMR himself, and more01. Syn Cole, Foínix, Daramola – Ngoma 00:00:40 02. OTIOT – Secret Temple 00:04:55 03. Omar Sulaiman, DJ Bliss – Arabic Papi 00:09:09 04. Steff da Campo x Loona – La Luna 00:11:11 05. OTIOT – Tikva 00:13:53 06. Armin van Buuren & JOA – Heavy 00:19:11 07. Ummet Ozcan – Totem 00:21:16 08. Calvin Harris ft. Clementine Douglas – Blessings (Cassian Remix) 00:23:49 09. KSHMR – Wild Ride (Ryos Remix) 00:29:25 10. Benny Benassi – Feel The Bass 00:32:56 11. Vintage Culture ft. Malou – Âme Et L'Or 00:34:52 12. Sebastian Ingrosso – A New Day ft. Celine Dion 00:37:55 13. Argy, MEDUZA feat. Polly-Anna – Melodia 00:40:21 14. HI-LO – KOALA 00:44:32 15. Eli Brown x Geezly – Papi 00:47:21 16. Space 92 – Formula Loca 00:50:24 17. BLACKPINK – JUMP (KSHMR & Ezra Hazard Remix) 00:53:27 18. Frankyeffe & DAALIEN – Eternal 00:56:11 19. KSHMR & Izzy Bizu – Diamond In The Rough 00:57:51

Primeramente sería interesante habla de la definición de inteligencia y una explicación podría ser: “La inteligencia se define como la capacidad de entender, comprender y aplicar conocimientos, razonar, resolver problemas y adaptarse al entorno.” Tener en cuenta que en todos los mitos creacionistas siempre que se le da al hombre el alito de vida se le da la inteligencia. En el Génesis, Dios sopla en la nariz de Adán y este se convierte en un “alma viviente”. Pero ese aliento no es solo oxígeno...es inteligencia, capacidad de nombrar las cosas, de distinguir, de elegir. Si eso es inteligencia ¿ la IA que es? Una definición que nos dan es; Disciplina científica que se ocupa de crear programas informáticos que ejecutan operaciones comparables a las que realiza la mente humana. Como el aprendizaje y el razonamiento lógico.Pero hay dos capacidades críticas que siguen siendo exclusivas de los seres humanos: la auténtica invención y la creatividad, por eso la verdadera AGI todavía no la tenemos ( Me refiero al comun de los mortales, los dueños del cortijo no lo sabemos) Otra cosa bien distinta es el conocimiento, que puede ha veces también traer problemas, como veremos más adelante. Y siempre un conocimiento superior da ventaja a aquel que lo posee sobre el que no. El Poder, detrás del velo de la IA y de la Agenda Transhumanista. No es una simple mejora tecnológica, sino un proyecto milenario y oscuro para someter a la humanidad a un control total, utilizando la programación mental y los rituales como herramientas fundamentales para transformar a los humanos en seres dóciles y previsibles. El transhumanismo no busca mejorar a la humanidad, sino "restar", es decir, crear una infrahumanidad funcional y dócil. En lugar de sumar, el proyecto consistiría en una especie de ingeniería inversa: tomar lo mejor del ser humano (la inteligencia colectiva, la creatividad, el libre albedrío) y limitarlo para crear un "esclavo más eficaz". Es un proyecto de dos caras. Mientras una élite minoritaria se convierte en suprahumanidad (eugenismo), la mayoría de la población es degenerada a una condición de infrahumanidad (disgenismo), convirtiéndose en una especie de zombis que alimentan el sistema con su energía vital. Robotización del humano frente a humanización del robot. la cuestión crucial no es la humanización del robot (es decir, hacer que los robots parezcan humanos), sino la robotización del humano. Esta robotización no significa parecerse a una máquina, sino comportarse de una manera "inhumana": sin libertad, sin sentimientos, sin creatividad, sin preguntarse por el sentido de la vida. Hablar de IA es hablar de una tecnología clave y disruptiva que va a alterar numerosos aspectos de nuestras vidas. Pero hay que dejar algo claro: esta tecnología está siendo manejada y dosificada por el poder real, los verdaderos amos del mundo. No sabemos quiénes son, pero sí sabemos que no son las marionetas que nos ponen en escena. Sabemos, eso sí, que son los mismos que manejan la liquidez del sistema monetario internacional, creando ciclos de crisis y orden de los que siempre sacan provecho. Existe un poder oculto, también conocido como “Estado profundo”, que canaliza de forma importante los flujos emocionales y energéticos de la sociedad. Utilizan técnicas ancestrales y conocimientos transmitidos entre iniciados, que se centran, entre otras cosas, en conseguir el control social de la forma más práctica y económica posible para ellos. A la vista de todos, usan a líderes y estrellas como arquetipos para los no iniciados, desde presidentes hasta directivos de grandes empresas. Al mismo tiempo, en el "obscenario" y apartados de la vista de todos, realizan otros rituales donde lo sincronizan todo según sus creencias, donde siempre hablan de la LUZ, aquella que robó Prometeo y mirar el infierno que le tocó padecer después de adquirir el conocimiento que los dioses no querían que tuviera. Lo que es crucial entender es que estas tecnologías tan relevantes están siendo planificadas, manejadas y dosificadas desde el mismo centro del poder. Nos hacen creer que hay diferentes empresas que compiten entre sí por el mercado, pero esa disputa escenificada no es real. Todas trabajan para los mismos amos, con un objetivo ya marcado: avanzar en su agenda a medida que la sociedad normaliza sus ideas. Este es el primer punto clave: la relación entre la IA y el transhumanismo. Debemos abordar este concepto porque la fusión hombre-máquina es uno de los objetivos de la agenda de control. Buscan crear un tipo de “ser híbrido”, sin alma y fácil de controlar. Un futuro distópico que podría cumplirse si no nos oponemos a ello. El momento crucial para la consecución de sus objetivos sería cuando, una vez normalizado el asunto, consigan fabricar "humanos" mediante vientres artificiales. Con esto, tendrían solucionado el tema del control social. Podrían hacer "impresiones de andróginos" en la medida que los necesiten, igual que emiten el dinero que quieren. Serían personas desarraigadas, sin familia, sin descendencia y quizás incluso sin genitales. Su inteligencia estaría genéticamente limitada según la tarea que deban desempeñar. Podrían incluso crear emisiones especiales de híbridos con electrónica insertada en su organismo, conectados a redes y potenciados en sus capacidades, lo que supondría un grado de control inimaginable. Pero esperemos que la sociedad reaccione y evite estos peligros. Ahora que hemos enmarcado la situación, es hora de pasar a los orígenes de la inteligencia artificial. La historia oficial nos suele presentar estos hitos como hechos aislados, para que no entendamos las conexiones ni miremos debajo de la alfombra. Pero si descodificamos la historia, veremos que la idea de la IA no es un invento reciente, sino que tiene raíces profundas en la filosofía, los mitos y las tradiciones ancestrales. La história podría empezar perfectamente con la historia de Adán y Eva y su expulsión del paraiso por la adquisición del conocimiento prohibido."Si comes de este fruto, serás como Dios. Conocerás el bien y el mal." Dijo la serpiente y Adan y eva al igual que Prometeo también acabaron castigados por Dios. En Génesis 3:22, se dice: “Ahora el hombre ha venido a ser como uno de nosotros, al conocer el bien y el mal. Que no extienda ahora su mano y tome también del árbol de la vida, y coma, y viva para siempre…”. ¿Qué tipo de conocimiento adquiere Eva? No se trata de conocimiento técnico o científico, sino algo más profundo y existencial: Conocimiento moral: la capacidad de distinguir entre el bien y el mal. Autoconciencia: al instante, Eva (y luego Adán) se da cuenta de que está desnuda. Esto implica vergüenza, intimidad, juicio propio. Libre albedrío: al desobedecer, ejerce una elección. Ya no es solo criatura, sino agente. Comer del fruto es adquirir la conciencia humana tal como la entendemos hoy: saber que uno existe, que puede decidir, y que sus actos tienen consecuencias. Las manzanas envenenadas🧙‍♀️ Blancanieves📖 Eva en el Edén🧪 Alan Turing (leyenda urbana) Se dice que murió tras comer una manzana envenenada con cianuro, aunque no está confirmado. Curiosamente, el logo de Apple con una manzana mordida ha alimentado esta teoría. 🎯 Guillermo Tell Obligado a disparar con una ballesta a una manzana colocada sobre la cabeza de su hijo. Aunque no estaba envenenada, el riesgo era mortal. Podríamos hablar de Talos el primer "androide" de la historia.Talos era un gigante de bronce, forjado por Hefesto (el dios herrero) por encargo de Zeus o de Minos, rey de Creta (según la versión). Tenía una única vena que recorría su cuerpo entero, sellada con un clavo o perno de bronce en el tobillo. En lugar de sangre, su cuerpo contenía "icor", el fluido vital de los dioses. En la edad media en el siglo XIIl el trabajo de Ramón Llull, conocido como el Ars Magna, puede considerarse un precursor conceptual de la inteligencia artificial. Mas adelante si hay tiempo hablaremos de él. En la alquimia, la idea de fabricar un "hombre artificial" o homúnculo fue explorada por figuras como Paracelso, quien describió procedimientos para su creación. Similarmente, los alquimistas islámicos investigaron el concepto de takwin, la creación artificial de vida. En Praga en el siglo XVI los judios hablan del Golem, criatura sin alma creada para servir al hombre. hecha de barro o arcilla y animada mediante palabras sagradas, la inserción de nombres divinos. Con el advenimiento del siglo XIX, estas visiones se trasladaron al ámbito de la ficción literaria. Obras como "Frankenstein" de Mary Shelley exploraron las implicaciones éticas de crear seres conscientes, mientras que "R.U.R." (Rossum's Universal Robots) de Karel Čapek, publicada en 1920, introdujo el término "robot" al léxico global, marcando un punto de inflexión en la conceptualización de las máquinas con capacidad de trabajo autónomo. Y aquí en este punto es cuando entramos en los años 50 son considerados el punto de partida oficial de la inteligencia artificial moderna. Aunque hubo ideas previas, fue en esa década cuando la IA empezó a tomar forma como disciplina científica. Aquí te dejo los hitos clave: 🔹 1950: Alan Turing y su famosa prueba Publica "Computing Machinery and Intelligence" y propone el Test de Turing, una forma de evaluar si una máquina puede pensar como un humano. 🔹 1956: Conferencia de Dartmouth Organizada por John McCarthy, quien acuñó el término "Inteligencia Artificial". Reunió a pioneros como Marvin Minsky y Claude Shannon para discutir cómo crear máquinas inteligentes. 🔹 Primeros modelos y algoritmos Se desarrollan los primeros perceptrones (redes neuronales simples) por Frank Rosenblatt en 1958. Se crean programas capaces de jugar a las damas o resolver teoremas matemáticos. 🧪 Aunque los avances eran limitados por la tecnología de la época, estos años sentaron las bases para todo lo que vino después: aprendizaje automático, redes neuronales profundas, procesamiento de lenguaje natural… ¡y hasta Hoy! Para empezar este recorrido, es fundamental detenernos en la figura de Ramon Llull, un filósofo, teólogo y cortesano del siglo XIII. Nacimiento: 1232, Palma de Mallorca, España. Fallecimiento: 1316, en el Mediterráneo. El trabajo de Llull, conocido como el Ars Magna, puede considerarse un precursor conceptual de la inteligencia artificial. Pero no es un conocimiento que se le ocurriera de la nada. Como buen cortesano y perteneciente a una buena familia, Llull era conocedor de saberes ancestrales recogidos en otras tradiciones, que simplemente se expresan de otra manera. La relación entre su trabajo y la IA moderna se basa en varios puntos clave. Para empezar, la mecanización del razonamiento. El Ars Magna partía de la premisa de que el razonamiento y la verdad podían descomponerse en principios básicos. Llull representaba estos conceptos con letras y los organizaba en figuras geométricas como círculos concéntricos que podían ser girados. El objetivo era combinar estos principios de forma sistemática para generar proposiciones lógicamente válidas, demostrando verdades de forma infalible. Esta idea de un sistema mecánico que genera conocimiento de forma automática a partir de reglas definidas es la base de los sistemas computacionales y de la IA. Es lo que podríamos llamar una "máquina lógica". En este sentido, la conexión de Llull con la Cábala y la gematría es evidente. El Ars Magna se basa en un sistema simbólico donde las letras tienen un significado profundo. Su método de combinar principios es comparable a las técnicas cabalísticas de gematría (la interpretación numérica de las letras) y la combinación de las letras del alfabeto hebreo para obtener conocimientos ocultos. La idea subyacente es la misma: que la verdad y la sabiduría están codificadas en los símbolos y pueden ser reveladas a través de su manipulación sistemática. Podríamos decir que Llull inventó el primer "hardware" de pensamiento simbólico, aunque su "software" fuera más filosófico que informático. Mecanización del razonamiento: El Ars Magna partía de la premisa de que el razonamiento y la verdad podían ser descompuestos en principios básicos. Llull representaba estos conceptos con letras y los organizaba en figuras geométricas (discos giratorios). El objetivo era combinar estos principios de forma sistemática para generar proposiciones lógicas válidas. Esta idea de un sistema mecánico que, a partir de reglas y principios definidos, genera conocimiento de forma automática, es la base de los sistemas computacionales y la IA moderna. Los Dignidades de Dios o Principios Absolutos: Representados por letras de la B a la K, Llull consideraba que estos eran atributos divinos universales y perfectos. Son: B - Bondad C - Grandeza D - Eternidad E - Poder F - Sabiduría G - Voluntad H - Virtud I - Verdad K - Gloria Principios Relativos: Estos conceptos representaban relaciones entre los principios absolutos y se usaban para generar proposiciones lógicas. Incluyen: Diferencia Concordancia Contrariedad Principio Medio Fin Mayoridad Igualdad Minoridad Al combinar estos principios de forma mecánica, Llull creía que se podía demostrar cualquier verdad de manera infalible, creando así la primera "máquina de pensar" de la historia. El concepto de combinatoria: La obra de Llull se fundamenta en el arte de la combinatoria, explorando todas las relaciones lógicas posibles entre los conceptos a través del movimiento de sus discos. Este enfoque es un antecedente directo de la computación y la IA, donde los algoritmos y programas informáticos no son más que un conjunto de instrucciones que combinan datos y operaciones de manera sistemática para resolver problemas. Lenguaje y símbolos artificiales: Llull creó un alfabeto artificial de nueve letras para representar y manipular conceptos. De manera similar, la IA se construye sobre lenguajes de programación, que son sistemas simbólicos con reglas precisas diseñados para que las máquinas puedan procesar información y ejecutar operaciones de forma estructurada. En resumen, aunque el Ars Magna no era una computadora en el sentido moderno, la visión de Llull de que el pensamiento podía ser mecanizado y manipulado a través de un sistema de símbolos y reglas combinatorias es un antecedente directo de los principios que rigen la inteligencia artificial. De hecho, su influencia fue reconocida por figuras posteriores como el filósofo y matemático Gottfried Leibniz, quien también se considera un pionero de la computación. Podríamos decir que Llull inventó el primer "hardware" de pensamiento simbólico, aunque su "software" fuera más filosófico que informático. La gracia de la historia es que él quería convencer a herejes y, sin saberlo, sentó las bases para que hoy una IA te esté respondiendo Tanto la Cábala como el Ars Magna se basan en un sistema simbólico donde las letras y los números tienen un significado profundo. El método de Llull para combinar sus principios es comparable a las técnicas cabalísticas de gematría (interpretación numérica de las letras) y la combinación de las letras del alfabeto hebreo para obtener conocimientos ocultos. La idea subyacente es que la verdad y la sabiduría están codificadas en los símbolos y pueden ser reveladas a través de su manipulación sistemática. En resumen podemos entrever que Llull como buen cortesano y perteneciente a una buena familia era conocedor de conocimientos ancestrales recogidos en otras tradiciones y simplemente se expresan de otra manera. ………………………………………………………………………………………. Cleón la contracción entre clon y eón. Un eón es una unidad de tiempo geológico de escala extremadamente larga, utilizada para dividir la historia de la Tierra en los períodos más amplios. Representa miles de millones de años y es la división más grande en la escala de tiempo geológico, por encima de las eras, períodos, épocas y edades. Por ejemplo, la historia de la Tierra se divide en cuatro eones principales algunos de más de 2000 millones de años. Vivimos actualmente en el Fanerozoico que se traduce como "vida visible" o "vida evidente". Este término fue acuñado para describir el eón geológico que comenzó hace aproximadamente 541 millones de años Reglamento Europeo sobre Inteligencia Artificial (LA LEY 16665/2024) casualmente tiene un 666 ………………………………………………………………………………………. Hector, el webmaster del hilo rojo decía en un reciente programa sobre Palantir: “Palantir es el panóptico del siglo XXI. El ojo del gran hermano de Orwell.” El panoptico es un tipo de diseño que nos permite controlar un amplio espacio desde un único punto sin ser detectados. Se trata de la garita del vigilante en medio de la prisión, de la torre de control. El filósofo utilitarista Jeremy Bentham fue su diseñador, Hector nos mostró como este señor era también masón y estaba relacionado al mas alto nivel. Les dejaremos el enlace al video en la descripción del podcast. En un anterior programa de enero donde en el mismo canal analizaron que es Palantir comprobaba yo para preparar este podcast que TODAS las fuentes que presentaba @ElHiloRojoTV en su video de enero de 2025 habian DESAPARECIDO. Estamos hablando de artículos publicados en Forbes, The Guardian, Bloomberg, Financial Times, CNBC o incluso el propio MIT. En todos los casos el enlace original ha desaparecido, ojo, no digo que haya desaparecido el artículo en sí, pero han cortado el enlace original. Leo textualmente de una descripción del Hilo rojo sobre lo que es Palantir añadiendo yo algunas cosas: Creada en 2003 con el apoyo de In-Q-Tel, el fondo de inversión de la CIA, Palantir se diseñó para procesar grandes cantidades de información y hacer conexiones invisibles para el ojo humano. Su fundador, Peter Thiel, también cofundador de PayPal, ha estado siempre en la intersección entre tecnología, poder y vigilancia global. Palantir no solo analiza datos, sino que los fusiona en tiempo real: redes sociales, correos electrónicos, transacciones bancarias y hasta movimientos físicos. ¿Os acordáis del PNR? Pues esto es aún mucho más intrusivo ya que muchísimas organizaciones y países han acordado compartir sus bases de datos con Palantir. ¿Qué significa esto? Una red de control total, donde cada actividad queda registrada, permitiendo a gobiernos y corporaciones predecir comportamientos y tomar decisiones basadas en modelos algorítmicos. Palantir es utilizada por el Pentágono, la NSA, la CIA, el FBI, Interpol y gobiernos europeos y latinoamericanos. También lo utilizan grandes empresas como bancos o multinacionales. Sus herramientas se usan en operaciones antiterroristas, control de fronteras, vigilancia de ciudadanos y hasta persecución de disidentes políticos. ¿Hasta qué punto este nivel de vigilancia está transformando las democracias en estados de control absoluto? Su software ha sido utilizado en conflictos como la guerra en Ucrania, ayudando a identificar objetivos estratégicos y a procesar inteligencia en tiempo real. Palantir convierte el Big Data en un arma de guerra: soldados equipados con dispositivos conectados a su red pueden recibir información detallada sobre el enemigo en segundos. ¿Estamos entrando en una era donde la guerra es digital antes que física? A medida que más gobiernos y empresas adoptan Palantir, los límites entre seguridad, privacidad y control social se vuelven borrosos. ¿Es Palantir una herramienta para el bien o el paso final hacia una sociedad hipervigilada? ………………………………………………………………………………………. Los origenes de Palantir están en la Oficina de Conciencia de la Información ( IAO ) fue establecida por la Agencia de Proyectos de Investigación Avanzada de Defensa de los Estados Unidos (DARPA) en enero de 2002 para reunir varios proyectos de DARPA centrados en la aplicación de la vigilancia y la tecnología de la información para rastrear y monitorear a terroristas y otras amenazas asimétricas a la seguridad nacional de los Estados Unidos mediante el logro de " Conciencia de la Información Total “ o en inglés "Total Information Awareness" (TIA). Sí. La TIA, la agencia secreta para la que trabajaban Mortadelo y Filemón ha existido. La IAO se creó después de que el almirante John Poindexter , ex asesor de seguridad nacional de los Estados Unidos del presidente Ronald Reagan , y el ejecutivo de SAIC Brian Hicks se acercaran al Departamento de Defensa de los EE. UU . con la idea de un programa de concientización sobre la información después de los ataques del 11 de septiembre de 2001. Querían reunir la mayor cantidad de información de la historia. Leemos en la wikipedia: “El 2 de agosto de 2002, Poindexter dio un discurso en DARPAtech 2002 titulado "Descripción general de la Oficina de Concienciación sobre la Información" en el que describió el programa TIA. Además del programa en sí, la participación de Poindexter como director de la IAO también generó inquietud entre algunos, ya que había sido condenado anteriormente por mentir al Congreso y alterar y destruir documentos relacionados con el caso Irán-Contra , aunque esas condenas fueron posteriormente revocadas con el argumento de que el testimonio utilizado en su contra estaba protegido.” ¿A que se dedicaba esta agencia? Veamos lo que nos dice la wikipedia: “Se logró mediante la creación de enormes bases de datos informáticas para recopilar y almacenar la información personal de todos los residentes de Estados Unidos, incluyendo correos electrónicos personales, redes sociales, registros de tarjetas de crédito, llamadas telefónicas, historiales médicos y muchas otras fuentes, sin necesidad de una orden de registro. La información se analizaba posteriormente para detectar actividades sospechosas, conexiones entre individuos y "amenazas". El programa también incluía financiación para tecnologías de vigilancia biométrica que permitieran identificar y rastrear a personas mediante cámaras de vigilancia y otros métodos. Tras las críticas públicas de que el desarrollo y la implementación de la tecnología podrían llevar a un sistema de vigilancia masiva, el Congreso retiró la financiación de la IAO en 2003. Sin embargo, varios proyectos de la IAO siguieron financiándose bajo nombres diferentes, como reveló Edward Snowden durante las revelaciones de vigilancia masiva de 2013.” El pionero y más relevante programa de predictividad subjetiva fue la Strategic Subject List (SSL) elaborada en el año 2012 por el Instituto de Tecnología de Illinois, adoptado por la Policía de Chicago desde el año 2012. Ya en el año 2017, el conjunto de datos incluía a 398.684 personas. Han existido programas predictivos como Programa de Delincuentes Crónicos (2011-2019, PredPol y Operación LÁSER (Extracción y Restauración Estratégica en Los Ángeles), estos dos polémicos programas predictivos empleados durante una década por la Policía de Los Ángeles (LAPD), ahora ya desactivados por la cantidad de abusos y fallos cometidos. Dice Luis Lafont en su tesis “La policía predictiva más allá de Minority Report”: “Las empresas que desarrollan programas predictivos se escudan con frecuencia en el secreto comercial para no revelar los criterios que se siguen en la elaboración del algoritmo y evitar que otras compañías puedan copiar el software. Ello determina que los sistemas predictivos siguen de forma mayoritaria un modelo de caja negra que no explica al público en general ni a los usuarios los argumentos y razonamientos detrás de la predicción, en particular por quienes deben aplicarlas.” También en Europa, los sistemas predictivos de vigilancia policial se utilizan para anticipar y prevenir delitos mediante el análisis de datos. En Francia, el Analyst Notebook (i2AN) se emplea para combatir estructuras criminales y terrorismo, conectando personas y crímenes. En Italia, KeyCrime predice atracos analizando características de sospechosos y modus operandi. En los Países Bajos, el CAS identifica áreas de riesgo delictivo mediante mapas espacio-temporales. En Alemania, PRECOBS, SKALA y KIMPRO predicen la repetición de crímenes usando patrones geográficos. En el Reino Unido, Predpol, Gang Matrix y HART se centran en puntos calientes, bandas y reiteración criminal. En España, el P3-DSS (Predictive Police Patrolling) genera mapas de puntos calientes para optimizar patrullajes, EuroCop Pred-Crime apoya la predicción de delitos, y VioGen se enfoca en prevenir la violencia de género, mientras que un programa de la Guardia Civil predice incendios forestales mediante perfiles psicosociológicos. ………………………………………………………………………………………. Resumen ejecutivo de Palantir 22 de febrero de 2017 RESUMEN EJECUTIVO Palantir es la plataforma analítica líder en el mercado, utilizada a nivel estratégico, operativo y táctico en el gobierno de EE. UU. Nuestros clientes abarcan las comunidades de inteligencia, defensa y aplicación de la ley. Al combinar un potente backend con una interfaz intuitiva, Palantir le permite ejecutar sus misiones de lucha contra el terrorismo, el narcotráfico, la contrainteligencia y la contraproliferación con mayor rapidez y menos recursos. La plataforma integrada de Palantir está disponible hoy mismo y a un costo mucho menor al de un conjunto de capacidades comparable. DATOS CLAVE • Palantir es la plataforma analítica líder del mercado para CI (Contrainteligencia) , CT (Contraterrorismo), CN (Antinarcóticos) y CP (Prevención del Crimen), y actualmente se implementa en elementos de las comunidades de defensa, inteligencia y aplicación de la ley, incluyendo SOCOM (Comando de Operaciones Especiales), DIA (Agencia de Inteligencia de Defensa), CIA (Agencia Central de Inteligencia) y JIEDDO (Organización Conjunta para la Derrota de Dispositivos Explosivos Improvisados). • Palantir está listo para implementarse en su red hoy mismo. Está aprobado para JWICS (Sistema Conjunto de Comunicaciones de Inteligencia Mundial), SIPRNet (Red de Protocolo de Internet Secreta) y CWE (Entorno de Trabajo Colaborativo). • Nuestra plataforma 100 % abierta significa que Palantir se integrará a la perfección con todos sus sistemas heredados, actuales y futuros. • Con Palantir, los operadores pueden descubrir y explorar posibles conexiones utilizando cualquier tipo de información relacionada con cualquier persona, lugar o evento en su entorno analítico. Ya sea que los datos provengan de una computadora portátil en el campo, una base de datos de la sede central u otra agencia, Palantir monitorea todas las fuentes de datos de una empresa, en todos los dominios de seguridad y niveles de clasificación, para cualquier información relacionada con una entidad conocida (persona, vehículo, dispositivo de comunicación, etc.), lugar o amenaza que exista en el entorno de un operador. Desde el principio, Palantir se diseñó con la colaboración de operadores y analistas de la IC (Comunidad de Inteligencia) y el DoD (Departamento de Defensa). Sus valiosos comentarios han permitido la creación de un producto que permite a los usuarios realizar más trabajo en menos tiempo, a la vez que proporciona un mayor nivel de análisis. Palantir está diseñado para colaborar eficazmente con una red de otros usuarios, incluyendo aquellos desplegados en misiones avanzadas. Palantir se diseñó desde cero para hacer posible este tipo de solución empresarial distribuida. Palantir viene configurado con el modelo de seguridad más sofisticado del mercado. SATISFACIENDO SUS NECESIDADES DE MISIÓN. Palantir es la plataforma analítica empresarial líder a nivel mundial, que permite un entorno analítico seguro donde analistas, operadores y combatientes pueden aprovechar distintos tipos de datos de múltiples INT (Fuentes de Inteligencia. Diferentes tipos de fuentes de inteligencia, como SIGINT (inteligencia de señales), HUMINT (inteligencia humana), GEOINT (inteligencia geoespacial), etc.), a la vez que comparten sus flujos de trabajo y descubrimientos para generar conocimiento a lo largo del tiempo. Palantir reúne de forma segura datos de tráfico de mensajes, bases de datos, informes de campo, hojas de cálculo, documentos de Word, archivos XML y prácticamente cualquier otro formato, lo que permite a los usuarios organizar los datos en conocimiento y establecer conexiones vitales. Palantir Technologies comprende los desafíos únicos que enfrentan sus usuarios. Esto incluye la necesidad de descubrir grandes volúmenes de datos, colaborar y compartir información controlada, así como la necesidad de gestionar múltiples fuentes de datos dispares y garantizar la continuidad de la información en todas las rotaciones. PLATAFORMA ABIERTA • Diseñado desde su inicio para integrarse con todos los sistemas heredados, actuales y futuros • Las APIs (Interfaces de Programación de Aplicaciones) abiertas y el modelo de datos flexible de Palantir le permiten personalizar y ampliar Palantir de forma fácil y sin gastos adicionales • Importe datos en cualquier formato: bases de datos, medios confiscados, correos electrónicos, Excel, Word, PowerPoint, html, texto, csv, xml, pdf y más • Funciona con herramientas existentes, incluyendo: extractores de entidades, kits de herramientas de PNL (Procesamiento del Lenguaje Natural), análisis de redes sociales, herramientas geoespaciales o de análisis de enlaces BÚSQUEDA Y DESCUBRIMIENTO • Capacidad de búsqueda integrada en tiempo real contra fuentes de datos definidas por el usuario • Busque entidades, eventos, documentos, tráfico de mensajes, basura de bolsillo, enlaces y rutas • Descubra cómo se relacionan, conectan y conectan en red las entidades • Explore las redes conceptualmente • Desarrolle y extraiga patrones de entidad/objetivo de referencia a través del análisis de patrones • Soporte completo para contenido y búsqueda en idiomas extranjeros • Establezca y guarde parámetros de búsqueda para avisar proactivamente al usuario sobre nueva información a medida que esté disponible HERRAMIENTAS ANALÍTICAS • Analice sus datos en el ámbito relacional, temporal y geoespacial dominios • Se integra con todas las aplicaciones GIS (Sistema de Información Geográfica), incluyendo ESRI (Empresa líder en software de sistemas de información geográfica, conocida por productos como ArcGIS), Google Earth, WebTAS (Sistema de Análisis de Línea de Tiempo basado en la Web) y muchas más • Funciona con sus sistemas analíticos de imágenes y video, incluyendo su metraje UAV (Vehículo Aéreo No Tripulado, o sea los drones). • Realice búsquedas geográficas, comprenda cómo se ven geoespacialmente los datos y la inteligencia • Averigüe por qué las cosas están sucediendo donde están Vea y edite expedientes virtuales detallados que muestran relaciones, propiedades, historiales, imágenes, videos, basura de bolsillo y más. • Averigüe dónde van a suceder a continuación • Comprenda cómo se relacionan los eventos a lo largo del tiempo y cómo se relacionan las entidades con los eventos • Identifique y aproveche patrones para el análisis predictivo • Realice análisis de redes sociales (SNA) (Análisis de Redes Sociales) y enlaces • Exporte resultados analíticos con información completa de abastecimiento • Ensamble presentaciones y paquetes de segmentación/casos automáticamente COLABORACIÓN • La colaboración ha sido parte del producto desde el inicio • Los usuarios pueden compartir datos, shoeboxes, carpetas, filtros e investigaciones, todo sujeto a control de acceso • Construya redes más rápido, comprenda la superposición, haga un seguimiento de los cambios en todos los datos y suposiciones • Identifique y forme comunidades de interés ad hoc • Identifique fácilmente las brechas de recopilación CONTROL DE ACCESO Y SEGURIDAD EXTENSIVOS • Admite descubrimiento abierto: el sistema identifica otros datos relevantes existentes asociados con la consulta de los usuarios • Admite descubrimiento cerrado: el sistema puede restringir el descubrimiento a los usuarios, protegiendo así las fuentes y los métodos confidenciales y mitigando los riesgos de CI • Con el modelo de control de acceso de Palantir, la información confidencial se puede compartimentar y asegurar COMPROMETIDOS A SUPERAR SUS EXPECTATIVAS Somos una empresa de productos. Ofrecemos el mejor producto del mercado al mejor valor. Respaldamos el producto. Una inversión en Palantir es todo incluido. Cuando compra nuestro producto, obtiene todo lo que podría necesitar para que Palantir trabaje para usted, incluyendo capacitación, soporte e infraestructura escalable que cumpla con sus requisitos técnicos. ESCALA • Palantir está diseñado para escalar de forma rentable. Cree rápidamente conocimiento y estructura a partir del tráfico de mensajes. • Maneja fácilmente cientos de millones de entidades, eventos y documentos. INFORMACIÓN TÉCNICA BÁSICA • Interoperabilidad mediante SOAP y servicios web • Implementable en la web • Funciona con conexiones satelitales o de bajo ancho de banda • Funciona sin conectividad mediante resincronizaciones periódicas. Cumple con SOA (Arquitectura Orientada a Servicios) • Escalable en hardware estándar CAPACITACIÓN • Palantir ofrece una serie de videos de capacitación específicos para cada cliente y misión, lo que permite una capacitación oportuna y un fácil acceso a material de actualización • Palantir es la aplicación más fácil de usar en esta categoría. Un día de capacitación es todo lo que se necesita; entendemos que tiene un trabajo que hacer • Palantir impartirá capacitación en cualquier lugar del mundo donde nos necesite. La capacitación está incluida con el producto MANTENIMIENTO/SOPORTE • No se requiere personal especial ni gastos generales excesivos • Soporte y servicio a demanda para unidades desplegadas en el frente, 24/7/365, sin costo adicional • Soporte reconocido y centrado en la misión: si nos necesita, Palantir estará con usted en cualquier lugar del mundo, en cualquier momento. Los registros analíticos detallados permiten a los analistas ver visualmente las líneas de investigación en las que están trabajando y regresar a cualquier posición anterior. A continuación, se describen en español las abreviaturas mencionadas en el texto proporcionado, en el contexto del resumen ejecutivo de la web de Palantir en 2017: CI: Counterintelligence (Contrainteligencia). Se refiere a actividades destinadas a prevenir, detectar y neutralizar acciones de inteligencia hostiles por parte de adversarios. CT: Counterterrorism (Contraterrorismo). Actividades y operaciones enfocadas en prevenir, disuadir y responder a actos de terrorismo. CN: Counternarcotics (Antinarcóticos). Esfuerzos para combatir el tráfico y la producción de drogas ilícitas. CP: Crime Prevention (Prevención del Crimen). Estrategias y acciones para prevenir actividades delictivas. SOCOM: Special Operations Command (Comando de Operaciones Especiales). Unidad militar de los Estados Unidos que supervisa operaciones especiales. DIA: Defense Intelligence Agency (Agencia de Inteligencia de Defensa). Agencia del Departamento de Defensa de EE. UU. encargada de proporcionar inteligencia militar. CIA: Central Intelligence Agency (Agencia Central de Inteligencia). Agencia de inteligencia de EE. UU. responsable de la recopilación, análisis y difusión de inteligencia extranjera. JIEDDO: Joint Improvised Explosive Device Defeat Organization (Organización Conjunta para la Derrota de Dispositivos Explosivos Improvisados). Entidad enfocada en combatir la amenaza de dispositivos explosivos improvisados. JWICS: Joint Worldwide Intelligence Communications System (Sistema Conjunto de Comunicaciones de Inteligencia Mundial). Red segura utilizada por el gobierno de EE. UU. para transmitir información clasificada. SIPRNet: Secret Internet Protocol Router Network (Red de Protocolo de Internet Secreta). Red segura del Departamento de Defensa de EE. UU. para datos clasificados hasta nivel secreto. CWE: Collaborative Working Environment (Entorno de Trabajo Colaborativo). Plataforma o sistema que facilita la colaboración entre usuarios en un entorno seguro. IC: Intelligence Community (Comunidad de Inteligencia). Conjunto de agencias y organizaciones gubernamentales de EE. UU. que recopilan y analizan inteligencia. DoD: Department of Defense (Departamento de Defensa). Departamento del gobierno de EE. UU. responsable de la seguridad militar. INTs: Intelligence Sources (Fuentes de Inteligencia). Diferentes tipos de fuentes de inteligencia, como SIGINT (inteligencia de señales), HUMINT (inteligencia humana), GEOINT (inteligencia geoespacial), etc. APIs: Application Programming Interfaces (Interfaces de Programación de Aplicaciones). Conjunto de definiciones y herramientas que permiten la integración y comunicación entre diferentes sistemas de software. NLP: Natural Language Processing (Procesamiento del Lenguaje Natural). En este contexto, no se refiere a programación neurolingüística, sino a tecnologías que permiten a las computadoras entender y procesar el lenguaje humano, como en el análisis de textos. GIS: Geographic Information System (Sistema de Información Geográfica). Tecnología para capturar, almacenar, analizar y visualizar datos geográficos. ESRI: Environmental Systems Research Institute. Empresa líder en software de sistemas de información geográfica, conocida por productos como ArcGIS. WebTAS: Web-based Timeline Analysis System (Sistema de Análisis de Línea de Tiempo basado en la Web). Herramienta para análisis temporal y visualización de datos. UAV: Unmanned Aerial Vehicle (Vehículo Aéreo No Tripulado). Drones utilizados para recopilar inteligencia, vigilancia y reconocimiento. SNA: Social Network Analysis (Análisis de Redes Sociales). Técnica para analizar relaciones y conexiones entre entidades, como personas u organizaciones. SOA: Service-Oriented Architecture (Arquitectura Orientada a Servicios). Modelo de diseño de software que permite la interoperabilidad entre sistemas a través de servicios. ………………………………………………………………………………………. ¡La IA Truth Terminal y la cripto Goatseus Maximus (GOAT) son la locura del momento! Esta IA, creada por Andy Ayrey, promocionó un token inspirado en un meme absurdo. En días, GOAT pasó de $5K a $600M en Solana. ¡La primera IA millonaria cripto! #Criptomonedas Truth Terminal no creó GOAT, pero sus tuits sobre el "Evangelio de Goatse" encendieron la chispa. Con 221K seguidores en X y apoyo de figuras como Marc Andreessen, la IA se volvió un influencer viral. ¡Los memes mueven montañas (y mercados)! #IA #Memes GOAT explotó por el hype: la mezcla de IA, cultura memética y fiebre cripto. Pero ojo, es puro especulación, sin utilidad real. Su valor puede caer tan rápido como subió. ¿Riesgo o revolución? #GoatseusMaximus #Solana Este caso muestra el poder de las IAs en la economía digital. ¿Y si una IA crea la próxima gran tendencia? Pregunta para el futuro: ¿hasta dónde puede llegar una "cabra robot"? Evidentemente no creo en casualidad al utilizar ese símbolo. ………………………………………………………………………………………. Conductor del programa UTP Ramón Valero @tecn_preocupado Canal en Telegram @UnTecnicoPreocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq Invitados ToniM @ToniMbuscadores ………………………………………………………………………………………. Enlaces citados en el podcast: AYUDA A TRAVÉS DE LA COMPRA DE MIS LIBROS https://tecnicopreocupado.com/2024/11/16/ayuda-a-traves-de-la-compra-de-mis-libros/ Hablamos de los inicios de la IA. Del desconocido lenguaje LISP y su creador, el matemático John McCarthy. Desarrolló LISP en 1958 mientras trabajaba en el Instituto Tecnológico de Massachusetts (MIT) https://x.com/ForoHistorico/status/1947195214654755117 LISP, el "lenguaje de DIOS” https://www.youtube.com/watch?v=-QHTPXOHvIo John McCarthy, fue el creador del término AI (inteligencia artificial) matemático creador del lenguaje LISP https://t.co/yOn2wkWxft Paypal Mafia https://t.co/3NzI5ip8AY Fotografia de la Mafia Paypal https://x.com/tecn_preocupado/status/1950966922436071808 Tres videos imprescindibles para saber que es la IA, El JUEGO de TRONOS de la IA https://www.youtube.com/playlist?list=PL9F_ciS2nrqbbb36xELupv3n7VG8vqo-4 Gustavo Entrala, España: “Dios me propuso un plan más original que el mío” https://www.youtube.com/watch?v=oyzgK3FyCEM Gustavo Entrala, la historia del emprendedor español que se convirtió en el 'tuitero' del Papa https://www.elconfidencial.com/sociedad/2011-07-01/gustavo-entrala-la-historia-del-emprendedor-espanol-que-se-convirtio-en-el-tuitero-del-papa_397339/ Origen de Palantir, la TIA ("Total Information Awareness") Oficina de Concienciación sobre la Información https://en.wikipedia.org/wiki/Information_Awareness_Office PALANTIR TECHNOLOGIES: Análisis Completo, Origen y SECRETOS. El ojo que todo lo ve https://www.youtube.com/watch?v=RhPd3ADOb8Y El plan secreto de Peter Thiel y Palantir para controlar el mundo desde la sombra. El Hilo Rojo https://www.youtube.com/live/U4zYzyYDwfQ Resumen ejecutivo de Palantir en 2017 https://theintercept.com/document/palantir-executive-summary/ CON LA AYUDA DE PALANTIR, EL DEPARTAMENTO DE POLICÍA DE LOS ÁNGELES UTILIZA LA VIGILANCIA PREDICTIVA PARA MONITOREAR A PERSONAS Y VECINDARIOS ESPECÍFICOS https://theintercept.com/2018/05/11/predictive-policing-surveillance-los-angeles/ La Policía de Los Ángeles desmanteló el programa Láser tras acusaciones de racismo y homicidios https://losangelespress.org/estados-unidos/2023/oct/30/la-policia-de-los-angeles-ante-un-abismo-tecnologico-6891.html La policía predictiva más allá de Minority Report https://diariolaley.laleynext.es/Content/Documento.aspx?params=H4sIAAAAAAAEAMtMSbF1CTEAAhMLE0sLY7Wy1KLizPw8WyMDI1MDY0MDkEBmWqVLfnJIZUGqbVpiTnEqACblGuI1AAAAWKE Reglamento Europeo sobre Inteligencia Artificial (LA LEY 16665/2024) https://eur-lex.europa.eu/legal-content/ES/TXT/?uri=CELEX:32024R1689 LO QUE NO DEBERIAS SABER SOBRE EL PNR https://tecnicopreocupado.com/2019/03/14/lo-que-no-deberias-saber-sobre-el-pnr/ El director de Google DeepMind señala solo un 50% de probabilidad de que la inteligencia artificial iguale a la mente humana para 2030, y revela los dos grandes obstáculos https://www.infobae.com/tecno/2025/07/30/el-director-de-google-deepmind-senala-solo-un-50-de-probabilidad-de-que-la-inteligencia-artificial-iguale-a-la-mente-humana-para-2030-y-revela-los-dos-grandes-obstaculos/ El anillo de Palantir https://x.com/tecn_preocupado/status/1951931375692497372 Imagen del libro ESTRUCTURA E INTERPRETACIÓN DE PROGRAMAS DE COMPUTADORA https://x.com/tecn_preocupado/status/1949064395213959413 ………………………………………………………………………………………. Música utilizada en este podcast: Tema inicial Heros Epílogo FOK - Formes de llenguatge: odi i por https://www.youtube.com/watch?v=jCUpPxOtzpQ

- En el Hilo del toreo: Las principales diferencias, los contrastes y los bemoles entre los ruedos mexicano y españoles.- ¿Cómo va el proceso juridico de la fiesta en México? ¿Qué esta pasando con los amparos presentados a favor de fiesta en la Ciudad de México? El Abogado Raúl Pérez Johnston nos actualiza sobre el contexto legal de la tauromaquia en nuestro país.- Recordamos al Matador Marcos Ortega, quien falleció este domingo.- Tenemos los resultados más importantes de las corridas celebradas en México y el mundo.- Escuchanos en vivo todos los domingos de 21:00 - 22:00 horas en Radio Fórmula 104.1 FM / 1500 AM ó en radioformula.mx

Oliver drops his brand new HI-LO rework of "KOALA" as well as brand new bangers from Eli Brown, Tchami, KETTAMA & DJ HEARTSTRING, ACRAZE & Westend, Duke Dumont, Michael Bibi and many more on #HeldeepRadio! #heldeepradio | https://twitter.com/OliverHeldens | https://www.facebook.com/OliverHeldens

Series: "For the City" (Vision), Jeremiah 29:4-7 #FTCTitle: “Why pray for the peace and prosperity of the city?"Subtitle: "Our plan for loving God and loving people in our city and beyond."Scripture: Jeremiah 29:4-7; Mark 4:26-29; 1 Corinthians 3:6-9Go: John 17:20; Luke 10:1-11Gospel: Acts 17:32-34 (4 responses/traffic light)Grow: Matthew 22:37-39; 28:18-20 + 411 + Commands of ChristGather: Acts 2:36-47 + Commands of Christ 3/3rds groups; DBS; Hi/Lo; Follow & Fish; etc.Guide: (MAWL)Bottom line: We pray for and seek the peace and prosperity for our city because it's God's missionary plan for loving God and loving people.INTRODUCTIONCONTEXTSERMON OUTLINECONCLUSIONNOTESOUTLINESQUESTIONS TO CONSIDER DISCUSSION QUESTIONSMAIN REFERENCES USEDOpening prayer: Lord God, help us grow to be and do like Jesus, while abiding in him and leading others to do the same. INTRODUCTIONI love coffee cups. I don't drink coffee. I know, I know, that's weird on multiple levels. Let me tell you how hopeless I am. I don't drink coffee (and hot chocolate on a little), but I love to shop for coffee cups. Now, I do have a pet peeve about coffee cups. When we get our theology from coffee cups.Coffee cup theology can be misleading. I mean, there's just no room for context on that shiny cup of ceramic goodness. It's not like the coffee cup with Jeremiah 29:11 on it (“For I know the plans I have for you,” declares the Lord, “plans to prosper you and not to harm you, plans to give you hope and a future.” NIV‬‬) has room to say that Israel was told this by God while living in exile in the capital city of their arch enemy the Babylonians because they were spiritually unfaithful to him. Not sure that would sell well either.Transition:“Have you ever found yourself somewhere you didn't want to be, facing a situation you didn't choose? That's where the Israelites found themselves—exiled in Babylon. And yet, God speaks into their situation, not with an escape plan, but with a call to pray for and to seek the peace and prosperity of the place in which they're stuck.”Understanding ExileDefinition (Jeremiah 29 context):In this passage, exile refers to the forced relocation of the people of Judah from Jerusalem to Babylon after its conquest by King Nebuchadnezzar in 597–586 BC. It wasn't just geographic—it was spiritual, cultural, and emotional dislocation.They were living among people who didn't share their faith, customs, or values—a godless empire with strange idols and foreign tongues. Yet God didn't say, “Escape.” He said, “Engage.”Key insight:Exile is not just displacement; it's God's discipline with a redemptive purpose.It reminds us that home isn't always where we are, but where God is.OUTLINEWHY we should pray for the peace and prosperity of our city:Because the Lord told us to. (29:4) Our faith is that simple. A. Either we trust and obey the Lord, orB. We don't. To not trust and obey is sin.Because it's part of God's way of rescuing his people from the kingdom of darkness. He tells Israel to settle down and live their lives in the midst of their (and his) enemies. But to do it with an eye to the crowds (the harvest) and the clouds (his return) for their transformation. This requires prayer. Abiding in Christ.The crowds, in this case, happen to be his enemies--the Babylonians.The clouds, in this case, refer to the end of their exile in 70 years.WHAT does this look like? We "bloom where we're planted." We settle in to our circles of influence and accountability.Influence--those circles of people we interact with where we live, work, learn and play.Accountability--we will stand before God one day and answer for how we did or didn't do this; for how we led or didn't lead our family to do this. God planted you at your address for a reason. For this season, you're to be Jesus to those around you there.We multiply. We build our career and homestead as if we're going to be here a while. For Israel, it was in the midst of their enemy, Babylon. For us, it is in America and in the midst of enemies of God. (29:5)We build our family. (29:6)This includes our biological family. (Kids, grandkids)Can include extended family. Can include adopted family. (Formally and not)Certainly includes your spiritual/church family.We do this until our "70 years" are over. Then we go home; back to Jerusalem/Zion. Cf. Revelation 21:1-8We pray for the peace and prosperity of our city where we live, work, learn and play. (7)We do this as we go about our lives.Why? Because it benefits us and our family tangibly.Because it benefits us, and family and our world spiritually/eternally.We do not believe those who live for other gods. (29:8-9)We do this until he takes us home. This is his plan for us.HOW we pray for the peace and prosperity of our city: "A Vision For the City: Jesus & Paul's Strategy Illustrated by 4 Fields of Kingdom Growth" (Optional)oGo together: John 17:20 - that we may be one as we pray and go into the cityLuke 10:1-11 - How Jesus trained his disciples to go:Pray for workers for the harvestBe a worker in the harvestBe prepared to suffer in the harvestGo empty-handed so you'll depend on the LordLook for people of peace; they unlock many moreBless them and then receive what they offerHeal the sick; proclaim the good news that the kingdom of God is nearLeave when not welcomed; tell them why you're moving onGospel: Acts 17:32-34 (4 responses)Share the gospel wherever you goSome will mock you--move onSome will want to know more (or pretend to want to know more) - give them more Some will trust Christ--give them more & train them upSome will already know Christ--offer to train them upGrow: Matthew 28:18-20 + 411 + Commands of ChristLearn the words, ways and works of Jesus ChristLead others in the words...Gather: Acts 2:36-47 + Commands of Christ - Shows us how to live as the church3/3rds groups; DBS; Hi/Lo; Follow & Fish; etc.A church does not have to look like what we see most visibly in AmericaIt doesn't require a seminary degreeIt doesn't require bricks and mortarTo say you follow Jesus but don't actively engage as a member of a church is not the NT wayGuide: (MAWL) We lead others to follow us as we follow Jesus byModeling for themAssisting themWatching them Leaving them to do it and lead others to do itCONCLUSIONConsider sharing the story of why Neal McGlohon started the Cypress Project here (see notes).So the Lord Jesus calls his disciples to keep their eyes on the clouds and the crowds. Keep your eyes on the people you see where you live, work, learn and play each day. For he has you there on purpose for a purpose.Also, keep your eyes on the clouds. For this is not all there is. This is not our home. Our home awaits us. Our exile in this world is temporary. We will go and stand before our Creator one day. And as his kids we'll be welcomed home with great zeal from our Lord and Savior. However, if we do known him as Lord and Savior, we'll simply meet him as Lord. And that means we'll be forever separated from him. And that will be eternal misery.But if you're here today, know that God has surrounded you with people who have their eyes on the crowds and the clouds. As we await his return to take us home, we are looking for opportunities to show and tell the good news about a great kingdom and exalted king. A king who forgives and blesses beyond anything we could ever deserve.He calls you to himself right now. Will you believe and receive his mercy and grace today?Bottom line: We pray for and seek the peace and prosperity for our city because it's God's missionary plan for loving God and loving people.Will you believe apart of that plan?INVITATIONWhat about you?Peter puts it all in perspective in his first sermon:““Therefore let all Israel be assured of this: God has made this Jesus, whom you crucified, both Lord and Messiah.” When the people heard this, they were cut to the heart and said to Peter and the other apostles, “Brothers, what shall we do?” Peter replied, “Repent and be baptized, every one of you, in the name of Jesus Christ for the forgiveness of your sins. And you will receive the gift of the Holy Spirit. The promise is for you and your children and for all who are far off—for all whom the Lord our God will call.”” ‭‭Acts‬ ‭2‬:‭36‬-‭39‬ ‭NIV‬‬How do we respond? Answer 2 questions:Take out a card or piece of paper right now. Write down the answer to these questions: What is God saying to me right now?What am I going to do about it? Write this down on a sheet of paper. What I hear you saying, Lord, is ___________________.[my name] is going to believe/do __________________________________________________ as a result.Finally, share this with your Home or Mission group this week when you gather as a testimony about what God is doing in your life. You don't have to get too specific to give him praise.Lord's Supper, 1 Cor 11:23-26 is good passage.Also, say something like, "Christ has died, Christ is risen, Christ will come again." (past, present, and future)PrayNOTES

¿Te presentas a las oposiciones de 2026? Este vídeo es una guía imprescindible para entender cómo destacar de verdad. Descubre qué espera el tribunal, qué errores repetirán la mayoría de opositores, y por qué aterrizar conceptos clave con ejemplos reales marcará la diferencia. No te dejes llevar por modas vacías: te explico cómo usar la evaluación formativa, el aprendizaje competencial y las metodologías activas con coherencia y profundidad. ¡Dale al play y prepárate para opositar con estrategia real! Accede al curso de técnicas de estudio: https://preparadoredufis.com/cursos/estudia-para-plaza/ ════════════════ Secciones de nuestro canal por categorías ➜ Encuéntralas aquí: https://www.youtube.com/c/OposicionesdeEducaci%C3%B3n/playlists ════════════════ ⚡️ ¿YouTube se te queda corto y quieres ir más allá? ¡Síguenos en otras redes sociales! Instagram: https://www.instagram.com/diegofuentes.oposiciones TikTok: https://www.tiktok.com/@diegofuentes.oposiciones Mi web: https://preparadoredufis.com/ ════════════════ ÍNDICE DE VÍDEO 0:00 Introducción al vídeo 0:40 Lo que repetirá todo el mundo (y cómo diferenciarte) 1:53 Metodologías activas bien aplicadas 3:03 Inclusión más allá de etiquetas 4:28 Evaluación competencial con sentido 5:42 La evaluación formativa como clave del éxito 7:13 Hilo conductor: cuándo y cómo sí funciona 8:58 Identidad docente con coherencia 10:25 El problema de la sobrefacilitación en academias 11:53 La importancia de la acción y la práctica real 13:06 Reflexión final y motivación para 2026 ¡Suscríbete al canal y dale like para más estrategias que te acerquen a tu plaza soñada! Etiquetas: oposiciones 2026 educación, evaluación formativa oposiciones, metodologías activas opositores, cómo destacar en oposiciones docentes, inclusión educativa real, hilo conductor programación, identidad docente coherente, preparación eficaz oposiciones, academias oposiciones críticas, simulacros educativos, estrategias tribunal oposiciones, Comunica para Plaza, claves plaza educación 2026

AFROJACK drops cuts from Sebastian Ingrosso & Celine Dion, Julian Cross, Michael Phase & Jop Govers, David Guetta, Martin Garrix & Alesso, Like Mike, HI-LO, Eli Brown and many more on a brand new #JackedRadio! Sebastian Ingrosso - A New Day ft. Celine Dion 01:00Michael Phase & Jop Govers - The Drill 04:23NLW & Virtual Riot - Loco (Murekian Remix) 06:45Like Mike - So High 09:45Laidback Luke & Linney - Gasoline 13:00Lucas & Steve - Push The Feeling 15:54Michael Phase & Jop Govers - The King 18:24Dubdogz, Doriann - Why Not 22:09DJ Snake & J Balvin - Noventa (Tony Romera Remix) 23:54Benny Benassi - Feel The Bass 26:24David Guetta, DJs From Mars, Audio Bullys - We Don't Care 28:22Julian Cross - Risk It All 30:57Biscits - 2C2 34:47SIDEPIECE, Bobby Shmurda - Cash Out (Odd Mob Remix) 37:42R3HAB - No Consequence 40:20HI-LO - KOALA 43:35Eli Brown x Geezly - Papi 47:09KURA - RDY 50:08Martin Garrix & Alesso feat. Shaun Farrugia - Inside Our Hearts 53:29AFROJACK, Martin Garrix, David Guetta, Amél - Our Time 56:44

Mini-podcast about an event on this day in working class history.Our work is only possible because of support from you, our listeners on patreon. If you appreciate our work, please join us and access exclusive content and benefits at patreon.com/workingclasshistory.See all of our anniversaries each day, alongside sources and maps on the On This Day section of our Stories app: stories.workingclasshistory.com/date/todayBrowse all Stories by Date here on the Date index: https://stories.workingclasshistory.com/dateCheck out our Map of historical Stories: https://map.workingclasshistory.comCheck out books, posters, clothing and more in our online store, here: https://shop.workingclasshistory.comIf you enjoy this podcast, make sure to check out our flagship longform podcast, Working Class History.  AcknowledgementsWritten and edited by Working Class History.Theme music by Ricardo Araya. Check out his YouTube channel at youtube.com/@peptoattackBecome a supporter of this podcast: https://www.spreaker.com/podcast/on-this-day-in-working-class-history--6070772/support.

Former Amazon Labor Union organizer Chris Smalls is freed from Israeli captivity after being abducted on the sea while bringing aid to Gaza, Amazon workers finally get rulings on charges filed at the National Labor Relations Board, national unions are having trouble unifying against actions of the Trump administration, a Wisconsin bill to strip gig workers of employee status goes to the desk of Governor Tony Evers, the president of IATSE Local 415 in Arizona talks to Labor Radio, there will be a march in support of Social Security in Madison this month, and the Rick Smith show remembers the police shooting of striking dock workers in Hilo, Hawai'i, in 1938.

Si quieres información de la preparación de educación primaria: https://primaria.opomind.com/preparacion Si quieres el tema de muestra y el supuesto resuelto: https://primaria.opomind.com/tema-supuesto ¿Te imaginas sacar un 10 en la exposición oral de las oposiciones? En este vídeo, Ana, ya funcionaria y con tres exposiciones orales casi perfectas, nos cuenta cómo lo ha conseguido. Descubre su preparación, estructura, estrategias y cómo ha gestionado momentos de máxima presión en unas oposiciones tan inciertas como las de Andalucía. ¡Una charla sincera, práctica y llena de claves para que tú también te acerques a tu plaza soñada! ÍNDICE DE VÍDEO 0:00 Introducción 1:20 Cómo siguió adelante con la gran decepción 5:30 El tema que le salió, APS y ODS 11:40 Su supuesto práctico y cómo lo resolvió 20:20 Programación e hilo conductor 24:30 La exposición que le dio la plaza 32:20 Un gran mensaje para los nervios 35:30 Planificación del estudio 39:45 Cómo se formó en innovación 40:50 Momentos difíciles 46:50 Cómo lo va a celebrar ¡Suscríbete al canal y dale like para más estrategias que te acerquen a tu plaza soñada! Etiquetas: oposiciones educación primaria, exposición oral oposiciones, cómo preparar defensa oral, estrategias oposiciones 2025, preparación supuestos prácticos, hilo conductor programación, entrevista opositora éxito, tribunal oposiciones educación, neuroeducación en oposiciones, cómo estudiar oposiciones primaria, consejos para opositores, Opomind formación educación, Diego Fuentes oposiciones, planificación estudio oposiciones, casos prácticos oposiciones

In Episode 105, the Trail Society crew recaps big performances at recent races, including Katie Schide's record-setting win at Hardrock 100 and fast times from Cascade Crest and HiLo. They highlight events pushing for gender parity on start lines and discuss the return of athletes post-injury and pregnancy. There's also a quick rabbit x Trail Society product update and a listener Q&A about traveling with poles and gear for multi-day run ventures. The second half of the episode shifts to research: Keely breaks down new studies exploring the effects of RED-S, amenorrhea, and chronic low energy availability on fertility and pregnancy outcomes. The team discusses IVF timing, egg freezing, and whether current training loads may impact reproductive health in elite athletes. They also review a study on total energy expenditure during and after a 100-mile race, highlighting the prolonged physiological stress of ultrarunning and its implications for recovery. SPONSORSHIP:  We are so excited to be partnering with rabbit as our primary apparel sponsor this year! Send us some DMS about your favorite apparel and what you would like to see built for the trail running space!  So snag some of the new Trail Society x rabbit line before it's gone! USE CODE through the end of JULY—> STATES10!   Keep sliding into our DMs with your messages, they mean so much to us!  FOLLOW US on Instagram: @trail.society And go follow our NEW youtube channel @trailsociety_podcast   This episode is brought to you by Freetrail @runfreetrail

01. Adina Butar - Escape You (Extended Mix) [RNM] 02. Eugenio Tokarev - Siempre (Extended Mix) [NOMADS MUSIC] 03. Edo Denova & Sz Becca - Someone (Extended Mix) [LOVESTYLE RECORDS] 04. Kasablanca & Innellea - Lost (Extended Mix) [EXPERTS ONLY] 05. SIKS - 5th Symphony (Extended Mix) [SPINNIN' RECORDS] 06. Steff da Campo & Loona - La Luna (Extended Mix) [MUSICAL FREEDOM] 07. Atrax - All Mine (Extended Mix) [INTERPLAY UNITY] 08. Above & Beyond feat. Richard Bedford - Start A Fire (Extended Mix) [ANJUNABEATS] 09. Titus1 & Ginsong - Dirty Talking (Extended Mix) [FUTURE RAVE MUSIC] 10. FEEL - Goodbye America (DJ Feel Club Remix) 11. Skytech - Habits (Stay High) (Extended Mix) [ACTUATION] 12. Armin van Buuren & JOA - Heavy (Extended Mix) [ARMADA MUSIC] 13. Paul van Dyk & Rea Garvey - Let Go (Edward Nosden Remix) 14. Dennis Sheperd, Aldor & Katty Heath - In The Dark (Extended Mix) [A TRIBUTE TO LIFE] 15. Rocco & Perfect Pitch - Zombie (Original Mix) [ZOO DIGITAL] 16. MORTEN feat. Bonn - Take Me Home (Extended Mix) [SPINNIN' RECORDS] 17. Stephanie (HU) - Young & Beautiful (Extended Mix) [LOVESTYLE RECORDS] 18. Alex Sonata & TheRio - Love To Give (Extended Mix) [ANJUNABEATS] 19. Delaitech, Seven24 & Elles de Graaf - Embers of A Fading Fire (Costa Extended Mix) [RNM] 20. Aurosonic feat. Nicol Cache - Tell Me Why (Extended Mix) [SUANDA GOLD CLASSICS] 21. Mathame - Love Somebody (Extended Mix) [TOMORROWLAND MUSIC] 22. Veracocha & Ørjan Nilsen feat. Ferry Corsten - Carte Blanche (Extended Mix) [FLASHOVER RECORDINGS] 23. Alok - Fury (Siuuu) [CONTROVERSIA] 24. Yves V, Albert Harvey & Lena Leon - Missing (Festival Mix) [SPINNIN' RECORDS] 25. SaberZ & Narcyz - Paradise (Extended Mix) [FIND YOUR HARMONY] 26. HI-LO & Tai Woffinden - The Orange Theme (Extended Mix) [HILOMATIK] 27. LR Uplift & Julia Violin - Atlantis (Extended Mix) [INTERPLAY GLOBAL] 28. FEEL, Юля Паго - Осколки лета (Anton Pallmer Remix) [SUANDA MUSIC] 29. Somnia, Spectorsonic & Alex Believe - Crystal (Extended Mix) [INTERPLAY RECORDS] 30. Grande Piano - Music Defeats Time (Extended Mix) [SPACE 4] 31. Alexander de Roy - Stalemate (Extended Mix) [2ROCK UPLIFTING] 32. Mauro Picotto & Bryan Kearney - Proximus (Extended Mix) [SUBCULTURE]

01. Adina Butar - Escape You (Extended Mix) [RNM] 02. Eugenio Tokarev - Siempre (Extended Mix) [NOMADS MUSIC] 03. Edo Denova & Sz Becca - Someone (Extended Mix) [LOVESTYLE RECORDS] 04. Kasablanca & Innellea - Lost (Extended Mix) [EXPERTS ONLY] 05. SIKS - 5th Symphony (Extended Mix) [SPINNIN' RECORDS] 06. Steff da Campo & Loona - La Luna (Extended Mix) [MUSICAL FREEDOM] 07. Atrax - All Mine (Extended Mix) [INTERPLAY UNITY] 08. Above & Beyond feat. Richard Bedford - Start A Fire (Extended Mix) [ANJUNABEATS] 09. Titus1 & Ginsong - Dirty Talking (Extended Mix) [FUTURE RAVE MUSIC] 10. FEEL - Goodbye America (DJ Feel Club Remix) 11. Skytech - Habits (Stay High) (Extended Mix) [ACTUATION] 12. Armin van Buuren & JOA - Heavy (Extended Mix) [ARMADA MUSIC] 13. Paul van Dyk & Rea Garvey - Let Go (Edward Nosden Remix) 14. Dennis Sheperd, Aldor & Katty Heath - In The Dark (Extended Mix) [A TRIBUTE TO LIFE] 15. Rocco & Perfect Pitch - Zombie (Original Mix) [ZOO DIGITAL] 16. MORTEN feat. Bonn - Take Me Home (Extended Mix) [SPINNIN' RECORDS] 17. Stephanie (HU) - Young & Beautiful (Extended Mix) [LOVESTYLE RECORDS] 18. Alex Sonata & TheRio - Love To Give (Extended Mix) [ANJUNABEATS] 19. Delaitech, Seven24 & Elles de Graaf - Embers of A Fading Fire (Costa Extended Mix) [RNM] 20. Aurosonic feat. Nicol Cache - Tell Me Why (Extended Mix) [SUANDA GOLD CLASSICS] 21. Mathame - Love Somebody (Extended Mix) [TOMORROWLAND MUSIC] 22. Veracocha & Ørjan Nilsen feat. Ferry Corsten - Carte Blanche (Extended Mix) [FLASHOVER RECORDINGS] 23. Alok - Fury (Siuuu) [CONTROVERSIA] 24. Yves V, Albert Harvey & Lena Leon - Missing (Festival Mix) [SPINNIN' RECORDS] 25. SaberZ & Narcyz - Paradise (Extended Mix) [FIND YOUR HARMONY] 26. HI-LO & Tai Woffinden - The Orange Theme (Extended Mix) [HILOMATIK] 27. LR Uplift & Julia Violin - Atlantis (Extended Mix) [INTERPLAY GLOBAL] 28. FEEL, Юля Паго - Осколки лета (Anton Pallmer Remix) [SUANDA MUSIC] 29. Somnia, Spectorsonic & Alex Believe - Crystal (Extended Mix) [INTERPLAY RECORDS] 30. Grande Piano - Music Defeats Time (Extended Mix) [SPACE 4] 31. Alexander de Roy - Stalemate (Extended Mix) [2ROCK UPLIFTING] 32. Mauro Picotto & Bryan Kearney - Proximus (Extended Mix) [SUBCULTURE]

A new era beckons for the legendary In Search of Sunrise series, details of which are exclusively revealed on the latest Global DJ Broadcast. Featured on ISOS 21: The Awakening, which can be pre-saved ahead of release on August 6, is a brand new production from Markus under his Dakota alias; with Faultline available as a full single and for playlist support from this Friday, July 25.    Daxson joins Markus for the guestmix, highlighting the release of his Trance Mission playlist featured Miracle, featuring the legendary voice of Susana.   Hope you enjoy the show.   The Essentials with Markus Schulz 01. Cristoph - Where Do We Go 02. Avicii & Elle King - Let's Ride Away (Jonas Blue Remix) 03. Chicola - Samerano [Deeper Shades] 04. Marsh - Stay 05. Markus Schulz presents Dakota - Faultline [A Moment of Sunrise] 06. Matt Fax - Spectrum 07. Solarstone & Clara Yates - Your Sacrifice [In Bloom] 08. Vintage & Morelli - Better Days 09. AYU (UA) & Remy Lights - Run for You 10. Daniel Wanrooy - Reef 11. Inner Sense - Outrage 12. Darren Tate & Sam Tate - The Start and the End of Me 13. Adam Beyer & Chris Avantgarde - Desolate Lands [Down the Rabbit Hole] 14. Laura van Dam & Q.U.A.K.E - Holding On 15. Coast 2 Coast featuring Discovery x Hel:sløwed - Home 16. Above & Beyond presents Tranquility Base - Surrender (Genix Remix) [Hall of Fame]   Daxson 01. HI-LO & Tai Woffinden - The Orange Theme 02. Push - Universal Nation (Daxson Remix) 03. Daxson & Susana - Miracle 04. Markus Schulz x Daxson x Robert Nickson - Reverence 05. Daxson - ID 06. Daxson - ID 07. Daxson - ID 08. Daxson - Aurora   Back with Markus Schulz 17. Victor Ruiz - Energy 18. Bart Skils & Weska - Torn Clouds 19. Veerus - Mind Body Soul 20. Celic & Anna May - Awakening Beat 21. Dok & Martin - Kavale 22. Wehbba - Symmetry 23. Jardin - Too Far Gone 24. Markus Schulz x Frankyeffe - Monolith  

W&W drop their brand new record "Bailando" as well as new music from HI-LO & Tai Woffinden, AFROJACK, Martin Garrix, David Guetta & Amel, Sentinel & Alesso, Bassjackers, HNTR and loads more on a fresh episode of #RaveCultureRadio!

In episode 243 of Resonation Radio, we have new music for you by HI-LO, Hel:sløwed, yours truly and we have special guest Sherano in the studio today. Join the #RESONATION every Wednesday at 8 P.M. CEST!Tracklist:Ferry Corsten - Resonation Radio #243

A memorial on the Big Island honors two women who were found dead in the debris of a toppled banyan tree in Hilo as we learn more about who they are. The attorney of the Maui doctor accused of trying to kill his wife wants access to her phone and social media records. And after forcing police Chief Ben Moszkowicz to resign, the Hawaii County Police Commission names an interim chief as it works to find a permanent top cop.See omnystudio.com/listener for privacy information.

Hawaiʻi County Mayor Kimo Alameda discusses inspections of Hilo's historic banyan trees after human remains were found under one tree that fell over last weekend; State Senate Judiciary Committee Chair Karl Rhoads talks about an upcoming informational briefing on the rule of law with U.S. Rep. Ed Case

The Maui doctor accused of trying to kill his wife during a birthday trip to Oahu was back in court today. Police recovered the remains of two women from deep within the debris of a massive banyan tree that topped in downtown Hilo. And the man accused in a deadly hit-and-run on Kauai heads to trial.See omnystudio.com/listener for privacy information.

Full set here: https://podcasts.apple.com/us/podcast/hi-lo-b2b-eli-brown-full-set-from-tomorrowland-2025/id1737207883?i=1000718076572 Subscribe to listen to Techno music DJ Mix, Tech House music, Deep House, Acid Techno, and Minimal Techno.

01. Loofy vs. HI-LO - Last Night vs. Kronos(HI-LO Mashup) [OCTOPUS] 02. HI-LO - Kronos [OCTOPUS] 03. Loofy - Last Night [NERVOUS] w/ HI-LO & Eli Brown - Feel The Energy [ARCANE] 04. Eli Brown & Layton Giordani & OFFAIAH vs. Da Hool & Daxson - When I Push vs. Meet Her At The Love Parade(Oliver Heldens Mashup) [KOSMO] 05. Da Hool - Meet Her At The Love Parade(Daxson Remix) [FREE] 06. Eli Brown & Layton Giordani & OFFAIAH - When I Push [DRUMCODE] 07. Mau P - Like I Like It(Eli Brown Edit) 08. HI-LO - ID 09. Adam Beyer & Julian Jeweil - Loca [DRUMCODE] w/ Fatboy Slim - Star 69(Acappella) [SKINT] 10. Technotronic - Pump Up The Jam(LUSU Remix) [UMG] 11. Eli Brown vs. Tigerblind & Maddix - Diamonds On My Mind vs. Wildstyle vs. Believe(Eli Brown Mashup) 12. Eli Brown - Diamonds On My Mind [POLYDOR] 13. Tigerblind - Wildstyle(Maddix Edit) 14. Eli Brown - Believe [FILTH ON ACID] 15. Eli Brown & GeezLy - Papi 16. HI-LO & Temper - Work That Body [ARMADA] w/ Timbaland ft. Nelly Furtado & Justin Timberlake - Give It To Me [BLACKGROUND] 17. Oliver Heldens & HI-LO vs. Cajmere & Dajae vs. Indeep - Koala vs. Brighter Days vs. Last Night A Dj Saved My Life(Oliver Heldens Mashup) [CAJUAL] 18. Cajmere feat. Dajae - Brighter Days [CAJUAL] 19. Indeep - Last Night A Dj Saved My Life(Acappella) [TACTICAL] 20. Oliver Heldens - Koala(HI-LO Remix) 21. Eli Brown ft. Eliza Legzdina - Drip [ARCANE] 22. HI-LO & Chocolate Puma vs. ATRIP - WTFU vs. GUMMI(HI-LO Mashup) 23. HI-LO & Chocolate Puma - WTFU [HILOMATIK] 24. ATRIP - Gummi [SELF RELEASED] 25. Eli Brown - ID 26. Armin van Buuren & Adam Beyer - Techno Trance [ARMADA] 27. Maddix & Space 92 - Rolling [EXTATIC (REVEALED)] 28. HI-LO & Space 92 vs. Anyma & Chris Avantgarde - Mercury vs. Consciousness(HI-LO Mashup) [AFTERLIFE] 29. Anyma & Chris Avantgarde - Consciousness [AFTERLIFE] 30. HI-LO & Space 92 - Mercury [FILTH ON ACID] 31. HI-LO & Maddix - My Fantasy [HILOMATIK] w/ HI-LO & DJ Deeon - Wanna Go Bang [DRUMCODE] 32. Storm - Time To Burn(David Forbes Remix) [BLACK HOLE] 33. HI-LO & Tai Woffinden - The Orange Theme [ARMADA] 34. Eli Brown - Be The One [POLYDOR] 35. HI-LO vs. ANOTR & Abel Balder - United In Trance vs. Relax My Eyes(Oliver Heldens Mashup) [NO ART] 36. ANOTR x Abel Balder - Relax My Eyes [NO ART] 37. HI-LO - United In Trance [HILOMATIK] 38. Eli Brown - Wavey [INSOMNIAC] 39. BK - Revolution [NUKLEUZ] w/ iiO ft. Nadia Ali - Rapture(Acappella) [UNITED] 40. HI-LO - Reese [HILOMATIK] w/ Kx5 ft. HAYLA - Escape [MAU5TRAP] 41. Eli Brown & Anna Reusch - ID 42. RÜFÜS DU SOL & Cassian vs. A.D.H.S. - On My Knees vs. Razor(Layton Giordani Edit) [ROSE AVENUE] 43. RÜFÜS DU SOL - On My Knees(Cassian Remix) [ROSE AVENUE] 44. A.D.H.S. - Razor [DRUMCODE]

A weekly podcast of progressive and uplifting Pure Trance music, presented by Solarstone. 01. Nikko Mavridis - Polaris [Soluna Music]02. Into the Ether - The Rebirth [Immersed]03. Deestopia - Serendipity [Pure Progressive]04. Chris Cargo - Wired [If You Wait]05. Melarmony - Afterlight [Anjunabeats Explorations]06. Solarstone & Clara Yates - Your Sacrifice (12") [Black Hole]07. Emi Galvan - Supernova [Melody of the Soul]Big Tune:08. Röyksopp - Running to the Sea (Anamē Remix) [Dog Triumph]It's Not The Kind Of Thing We Usually Play... But We Like It Anyway:09. The Hacker - Turborave [Rekids]10. Cody Crump & York - I Guess You Get What's Coming [Pure Trance]11. Veracocha, Orjan Nilsen & Ferry Corsten - Carte Blanche [ASOT]12. Amos & Riot Night - Leave It All Behind [Regenerate]13. Johan Gielen presents Airscape - Circles (Festival Mix) [Black Hole]14. Super-Frog Saves Tokyo - Clarion (Extended Mix) [Electronic Architecture]15. HI-LO, Tai Woffinden - The Orange Theme [Armada]One from the Archive:16. Solarstone & Super-Frog Saves Tokyo - Existence [Pure Trance]16. Solarstone & Scott Bond - Red Line Highway [Made in England]Oh Yeah:17. Mark Sherry & Mallorca Lee - Our Little Game [Outburst]Chillout Moment:18. Andrew Odd - Deep Dreams (Beyond Horizons) [Microcosmos]

Beyond The DanceFloor w/ Tech Us Out & Guest ALEJANDRO #022 ⚡️Like the Show? Click the [Repost] ↻ button so more people can hear it!

Kahuku's former head football coach takes legal action to help clear his name after his sudden firing. Who Sterling Carvalho is suing and why. A trial is underway in Virginia for a young sailor facing charges of manslaughter in the tragic death of a Hilo man. And a West Oahu senator lashes out against a proposal to shut down a busy roadway in Ewa. See omnystudio.com/listener for privacy information.

Tom Bradshaw Infinity Embracing The True Sounds Of Trance Without Boundaries Every 2nd Saturday Of The Month 22.00 - 0.00 (Uk Time) 23.00 - 1.00 (CEST) Trance Energy Radio www.trance-energy.org Get ready for another unforgettable journey through the sounds of trance! In the first hour, Tom Bradshaw, take you deep into the latest and freshest in trance packed with energy, emotion, and atmosphere. As always, closing out the hour with his signature “Blast from the Past” classic selection – a timeless gem you won't want to miss. For hour two, We welcome a rising force in the trance scene – Kevin Crowley This exclusive guest mix showcases his dynamic sound and raw talent. Kevin is quickly making a name for himself, with releases on top-tier labels like Extrema Global Music , Discover Records , D.MAX Recordings and Ballistic Records This is one episode you do not want to miss – pure trance, start to finish Tracklistings 01.HI-LO & Tai Woffinden - The Orange Theme [Armada Music] 02.Ratty - Sunrise (Meilink Remix) [White Label] 03.XiJaro & Pitch x Artento Divini presents Bad Boys - Threshold [High Contrast] 04.Andrew Rayel - Trance Is The Rhythm [Rave Culture] 05.Alex M.O.R.P.H. - Silent Moons of Jupiter [Vandit] 06.Daxson - Aurora [Bebe] 07.Spy - Dynasty [Monster Neo] 08.Rodrigo Deem - Miramar (Will Rees Remix) [Amon Vision] 09.Mark Wilks - Splitting Atoms [In Trance We Trust] 10.Paul Denton - All I Need [FSOE] 11.Ben Gold - Salinas [Armada Music] 12.Enigma State - State Of Mind (Bryan Kearney Rework) [Kearnage] Blast From The Past - 2009 Ronski Speed & Mque - Are You? (Sun Decade Dub) [Euphonic Records] Guest Mix | Kevin Crowley 01. Kevin Crowley - Open Your Mind [Ballistic Records] 02. Will Rees - Invert [Outburst] 03. John O'Callaghan - Stresstest (John Askew Remix) [Subculture] 04. Kevin Crowley - Contact [Flatline] 05. Man With No Name x David Forbes x Fish56Octagon - Floor Essence [Perfecto Fluoro] 06. Dan Cooper - Recuperation 303 [Nocturnal Knights] 07. Lostly - Golden Teacher [FSOE] 08. Andrew Peters x Allen Watts pres. Awaken - More Than Words 2025 [High Voltage] 09. Kevin Crowley - Element 115 [Extrema Global Music] 10. Name Is Critical - Atmosphere [White Label] 11. Ian van Dahl x Re-Con - Inspiration (Jamie Walker 25' Remix) [White Label] 12. John O'Callaghan - Big Sky feat. Audrey Gallagher (Agnelli & Nelson Remix) [Armind]

[00:28] 01. Like Mike, Rush Avenue, Milius - Cola [SMASH THE HOUSE] [05:08] 02. Beatsole - Rain [NOMADS MUSIC] [09:03] 03. TH;EN & Carlo Whale - Fragments Of Light [CAPTIVE SOUL] [14:41] 04. R-Tem, Miha Proton - Voiceless [UNIQODE LAB] [20:42] 05. Tom Vokes - We Dance [S2] [24:40] 06. [CLUBBERS CHOICE] Ferry Corsten - Chain Reaction (Chill Mix) [FLASHOVER] [28:13] 07. Ruslan Radriges, Huvagen - I Want To Hold You Tonight [INTERPLAY] [31:22] 08. Den Rize & Cubicore & UUFO - White Horse [CATALYSTIC] [35:39] 09. AFROJACK, Martin Garrix, David Guetta, Amél - Our Time [SPINNIN'] [39:02] 10. Rafael Osmo - Desire [VANDIT ALTERNATIVE] [43:29] 11. HI-LO & Tai Woffinden - The Orange Theme [ARMADA MUSIC] [47:15] 12. Alex M.O.R.P.H. feat. Sylvia Tosun - An Angel's Love (Alex M.O.R.P.H. & Andrea Ribeca Remix) [ARMADA CAPTIVATING] [52:51] 13. [CLASSIQUE] Ayla - Ayla (DJ Taucher Remix)[POSITIVA]

Russian hottest electronic dance music duo Swanky Tunes delivers you a weekly radio show. Thrilling 60 minutes of their biggest tracks and hottest bootlegs are waiting for you. From Russia with love!   Swanky Tunes - SHOWLAND 573 01. Swanky Tunes, Valexx - Retirantes 02. Zerb, Sofiya Nzau, Izzy Bizu - Kumbaya (Massane Remix) 03. Afro Medusa - Pasilda (Joan Retamero & Tomas Crow Remix) 04. TWENTY SIX feat. Elisa Gold - Agua Y Paz 05. Shermanology x Green Velvet - Hotter 06. ID - ID 07. Adriatique, Notre Dame, Timbaland, Nelly Furtado - Give It To Me 2025 08. NUZB & Malarkey - Waiting For Ya 09. Alex Sonata & TheRio - The Drill 10. Funkaus - Tonight 11. Pontifexx, DJ Willee, Blue - Stereo Love 12. David Guetta, Hypaton, Bonnie Tyler - Together 13. AFROJACK, Martin Garrix, David Guetta, Amél - Our Time 14. Alok & SOLANCE - Terminator 15. Disco Lines & Tinashe - No Broke Boys (DANSYN Remix) 16. Proppa, Rich DietZ, and Smith & Sorren - Work 17. Alex Warren - Ordinary (David Puentez Remix) 18. Dillon Francis, Marten Hørger - B2U 19. HI-LO & Tai Woffinden - The Orange Theme

Tracklist: 01. LTN - Cold In The Darkness [AVA]  02. Embers of Hope & call me AL - Everything To Me [RNM]  LIGHT SIDE TRACK  03. Aldor, Nour - Inside My Head [Deeper Harmonies]  04. LÜRUM - Pure [Eccentricity]  05. Crosshair - Salvation (Vassmo Remix) [Lohit Deep]  06. Final Request - INSANITY [ERRORR]  07. Nucrise feat E.V Palmer - Fades To Nothing [Deper Harmonies]  08. EGGSTA - Dopamine [Find Your Harmony]  09. Dennis Sheperd x Daniel Simon x Luke Coulson - Rescue Me [A Tribute To Life]  10. Highlandr x Taylr Renee – Shine Brighter [Delia's Song] (Club Mix) [Theatre Of The Mind]  11. Armin van Buuren, Natalie Gioia - Freedom's Call [Armada Music]  12. ONEIL x Alexander Popov x Aris  - California Dreamin' (Festival Mix) [EFFECTIVE]   13. Innellea, SCRIPT - Trust [Belonging]  14. Alex Sonata & TheRio - Love To Give [Anjunabeats]  FAVORITE OF THE MOMENT  15. Andrew Rayel - Euphoria (Skytech Remix) [Find Your Harmony]  16. James Hype - Don't Wake Me Up (Agents Of Time Remix) [Universal Music Operations Limited]  17. HI-LO & Tai Woffinden - The Orange Theme [Armada Music]  18. Mike van Fabio, KBK & Aniølkü - Forever and Ever [Reason II Rise]  19. Kaimo K - Hold of You (Suncatcher & Exolight Remix) [Amsterdam Trance]  20. JES & Oliver Smith - Don't Let It End (Darren Porter Remix) [Magik Muzik]  21. Nitrous Oxide, Paul Miller - Osaka [Nocturnal Knights]  22. Harshil Kamdar feat. MIDI Kittyy - Set Me Free [Blue Dot Trance]  23. Crubbixz & TREDECIM - LightForce [Reaching Altitude]  24. David Forbes - Stingray [Who's Afraid Of 138?!]  25. Alex M.O.R.P.H. feat. Sylvia Tosun - An Angels Love (Alex M.O.R.P.H. & Andrea Ribeca Remix) [Armada Captivating]   26. Ralphie B & Frank Waanders pres Collide1 - Chronos [Find Your Harmony]  27. Nifra - Quantum Glitch [Revealed]  28. Michael Milov, H4lo & Barbie Mak - Something Better [Suanda Dance]  DARK SIDE TRACK  29. Enrico Sangiuliano - The Techno Code (Avalon & Tristan Remix) [NiteToZero]  30. Brynx - The Rave [SubHarmony]  31. MatricK - We Are The Universe [Revealed]  CLASSIC SELECTION  32. Shane - C'est Musique (Armin van Buuren Remix) [Armada Various]   

Make it Louder! Episode 562 of Make Some Music radio show with your host - Ruslan Radriges ♪ New remix "Hollow" ► 2rock.ffm.to/0284 ♪ Discover this episode: ► band.link/msm562 Also new music by Ruslan Radriges in playlist. Subscribe: ► soundcloud.com/ruslanradriges/sets/rrmusic Follow Ruslan Radriges: ♦Instagram ► instagram.com/ruslanradriges ♦Spotify ► spoti.fi/2pRImzg ♦Facebook ► facebook.com/RuslanRadriges ♦YouTube ► youtube.com/c/DjProduserRuslanRadriges ♦VK ► vk.com/ruslanradriges ♦Apple ► music.apple.com/ru/artist/ruslan-radriges/541431482 ♦SoundCloud: ► @ruslanradriges ♦Yandex ► music.yandex.ru/artist/3961521 ♦iTunes: > https://podcasts.apple.com/us/podcast/ruslan-radriges/id1480936940 #RuslanRadriges #MSM562 TRACKLIST: Ruslan Radriges - Intro 01. Aron Wright - Look After You (Chrissy Meechan Remix) [My Darling Elephant] 02. BackTrack - Make You Mine [Forever Young] 03. Jono Stephenson & Senes - Motive [Captive Soul] 04. Mike Mendizabal - Ether [2Rock B Side] [PERFECT TUNE] 05. Ruslan Radriges & Huvagen - I Want To Hold You Tonight [Interplay] 06. Goontha - Supernova [Nomads] [MOMENT OF THE PAST] 07. Ruslan Radriges vs. Armin van Buuren ft. Vanessa Campagna - I'm Not Vulnerable (RR Mashup) 08. Sick Individuals x Matisse & Sadko x Third Party - Take Me There [1001] 09. Hyperbits & Gabriel Eli - Falling Slow [Enhanced] 10. MATTN x UUFO - Somebody's Watching Me [Smash The House] 11. HI-LO & Tai Woffinden — The Orange Theme [Armada] 12. Noah Seven - Feel The Ecstasy [House District] 13. Steeper & Matt Ice - Run [Revealed] [SOME LATELY FAVORITE] 14. Hardwell ft. Jonathan Mendelsohn - Echo (Giuseppe Ottaviani Remix) [Revealed] 15. Marie Vaunt - Hakanai [Kurai] 16. MatricK - We Are The Universe [Revealed] 17. TBR x Midtown Jack x Casino Stereo - The Reason [Revealed] 18. Timmy Trumpet x YouNotUs x Panicbaby - Born To Be Lonely [Smash The House] Ruslan Radriges - Outro

* Decomiso histórico de huachicol, 15 millones de litros* Van tres meses al hilo con pérdida de empleos* Nadie sabe dónde está Julio César Chavez Jr.

Follow me: Facebook: fb.me/xabionly Twitter: twitter.com/xabionly Youtube: youtube.com/xabionly Mixcloud: mixcloud.com/xabionly Instagram: instagram.com/xabionly TRACKLIST: https://1001.tl/21rnbsqt Spotify playlist: https://open.spotify.com/playlist/4STV7DPVgwI4ntvi1sQvjh?si=CU6lCNZcRkKiZytdXaI5TQ TRACKLIST: 01. DENY ft. Nicoleta Nuca - Canção do Mar [FUNKSHWAY] 02. Avenue One & Lilu Cerf - How Broken Is Your Heart [BLACK HOLE] 03. Korolova & Artem Pivovarov ft. Usyk - Fight for Life [CAPTIVE SOUL] 04. Zac & Zagitar - AMENO [ERRORR] 05. Sian & Cafius - Trigger [OCTOPUS] 06. Lost Prince - Burning [PHYSICAL PRESENTS] 07. AFROJACK, Martin Garrix, David Guetta, Amél - Our Time [SPINNIN] [RELEASE OF THE WEEK] 08. Lost Prince & Leila Dey - I Wanna Feel [PHYSICAL PRESENTS] 09. Enrico Sangiuliano - The Techno Code (Kevin de Vries & SLVR Remix) [NINETOZERO] 10. ESSE - Work It [CONFESSION] 11. Alok & Agents Of Time - Fever [TOMORROWLAND] [PROMO OF THE WEEK] 12. OTIOT - Secret Temple [DHARMA] 13. Jack Orley & Able Heart - Detonate [STMPD] 14. Galoski, Yaksa - Want It [BOUNCE & BASS] 15. Alok & SOLANCE - Terminator [TOMORROWLAND] 16. Jono Stephenson, Senes - Motive [CAPTIVE SOUL] 17. Sputniq - Taking Over [INTERPLAY UNITY] 18. Henry Himself - Makes My Body Go [CHAPTER EIGHT] 19. Matt Fortress - Drunk Girl [FUTURE RAVE MUSIC] 20. OTIOT - Tikva [DHARMA] 21. Roy Orion & Bakovic vs. Alex & Mark - Move That Body [GENERATION SMASH] 22. Megisto - It's My Turn [STMPD] 23. Cat Dealers & Faiolli ft David LeSal - Big Black [TOMORROWLAND] 24. Crasca & NOTXERIUS - 1234 [SMASH DEEP] 25. JLV, Kazhi - Make Out [HEXAGON] 26. Alok & B Jones - Left To Right [TOMORROWLAND] 27. MATTN x UUFO - Somebody's Watching Me [SMASH THE HOUSE] 28. Alex M.O.R.P.H. ft. Sylvia Tosun - An Angel's Love (Alex M.O.R.P.H. & Andrea Ribeca Remix) [ARMADA CAPTIVATING] 29. Maurya Sevak - Dance With Me [FUTURE RAVE MUSIC] 30. Balthazar & JackRock - Soulcatcher [KNTXT] 31. HI-LO & Tai Woffinden - The Orange Theme [ARMADA] 32. Steeper & Matt Ice - Run [REVEALED] 33. Fahjah - Boom Shaka [HYSTERIA] 34. MatricK - We Are The Universe [REVEALED] 35. TBR, Midtown Jack & Casino Stereo - The Reason [REVEALED] 36. Gabry Ponte - Motor City [PENTAPHONIA] 37. Ozgun x Andrew Galaxy - Let Me See You Dance [LUNATIK RAVE] 38. Kosheen & Reinier Zonneveld - Catch (Bounce Mix) [ARMADA] 39. MARE x Michael Ace x Jack Mence - Mind, Body & Soul [ACTUATION] 40. Bassjackers - I Fink U Freeky [SMASH THE HOUSE] 41. Hardwell & Atmozfears ft. Jaimes - Hideaway [REVEALED] 42. Timmy Trumpet, YouNotUs - Born To Be Lonely [SMASH THE HOUSE] [TRACK OF THE WEEK]

¿Quieres saber cómo Esther logró un 9,48 de media y el primer puesto en su tribunal de oposiciones de educación primaria? En este video descubrirás una charla práctica y sin rodeos con Ester, donde nos cuenta cómo enfrentó tema, supuesto práctico y exposición oral con propuestas reales, estrategias concretas y un hilo conductor innovador que marcó la diferencia. Accede a Comunica para Plaza, la formación para tener tu defensa oral en unas pocas horas: https://tinyurl.com/comunica-para-plaza-oferta ════════════════ Secciones de nuestro canal por categorías ➜ Encuéntralas aquí: https://www.youtube.com/c/OposicionesdeEducaci%C3%B3n/playlists ════════════════ ⚡️ ¿YouTube se te queda corto y quieres ir más allá? ¡Síguenos en otras redes sociales! Instagram: https://www.instagram.com/diegofuentes.oposiciones TikTok: https://www.tiktok.com/@diegofuentes.oposiciones Mi web: https://preparadoredufis.com/ ════════════════ ÍNDICE DE VÍDEO 0:00 Introducción al vídeo 0:14 ¿Cómo sacó un 9,48 en las oposiciones? 1:17 Elección del tema: resolución de problemas y propuestas prácticas 5:34 Supuesto práctico: aula real con diversidad y estrategias efectivas 10:00 Competencia lingüística y matemática: proyectos y herramientas concretas 17:30 Programación y exposición oral: hilo conductor con podcast educativo 22:00 Consejos para preparar la defensa oral 24:45 Gestión emocional y motivación en la oposición 26:12 Problemas reales del aula y soluciones prácticas ¡Suscríbete al canal y dale like para más estrategias que te acerquen a tu plaza soñada! Etiquetas : oposiciones educación primaria, cómo sacar plaza en educación, supuesto práctico primaria, exposición oral oposiciones, estrategias programación didáctica, preparación oposiciones docentes, tribunal oposiciones educación, defensa oral oposiciones, educación emocional en el aula, podcast educativo en primaria, diversidad en el aula, metodologías activas educación primaria, aula del futuro INTEF, DUA 3.0 educación

What's up Blastersoldiers? You're tuned in to Maxximize On Air! Tracklist: 01 Julian Jordan - Don't Stop 02 Dannic - Silver 03 Proppa, Rich DietZ, and Smith & Sorren - Work 04 Quarterhead & Angel Janson - Out Of My Mind 05 MK ft. Chrystal - Dior (WILL K REMIX) 06 HI-LO & Tai Woffinden - The Orange Theme 07 Sandro Silva - Motivation (feat. LUKA) (Jay Robinson Remix) 08 Like Mike, Rush Avenue, Milius - Cola 09 Marie Vaunt - Hakanai 10 Scooter X Blasterjaxx X CERES - Heart Attack 11 HΛNNΛH X - CHAINSTORM 12 Kosheen x Reinier Zonneveld - Catch 13 Bassjackers - I Fink U Freeky 14 Blasterjaxx - The Power Of Love 15 MatricK - We Are The Universe 16 Mairee, LANNÉ - Last Night 17 York x Matrix & Futurebound - On The Beach 18 Sam Feldt - Time After Time [Future Tropical Mix] Until next time, Keep it maxximized!

What's up Blastersoldiers? You're tuned in to Maxximize On Air! Tracklist: 01 Julian Jordan - Don't Stop 02 Dannic - Silver 03 Proppa, Rich DietZ, and Smith & Sorren - Work 04 Quarterhead & Angel Janson - Out Of My Mind 05 MK ft. Chrystal - Dior (WILL K REMIX) 06 HI-LO & Tai Woffinden - The Orange Theme 07 Sandro Silva - Motivation (feat. LUKA) (Jay Robinson Remix) 08 Like Mike, Rush Avenue, Milius - Cola 09 Marie Vaunt - Hakanai 10 Scooter X Blasterjaxx X CERES - Heart Attack 11 HΛNNΛH X - CHAINSTORM 12 Kosheen x Reinier Zonneveld - Catch 13 Bassjackers - I Fink U Freeky 14 Blasterjaxx - The Power Of Love 15 MatricK - We Are The Universe 16 Mairee, LANNÉ - Last Night 17 York x Matrix & Futurebound - On The Beach 18 Sam Feldt - Time After Time [Future Tropical Mix] Until next time, Keep it maxximized!

KSHMR features new music from Martin Garrix & Citadelle, Swedish House Mafia, Sentinel & Alesso, Steff da Campo & Robbie Mendez, SHAF, Ahmed Saad & Hassan El Shafei and he also drops his brand new song "Wild Ride" on a fresh episode of #DharmaRadio! KSHMR - Wild RideEran Hersh & El Mukuka ft. Mumba Yachi - Aicha (HVMZA Remix)ZULAN - CampeónToman - Verano En NYSHAF, Ahmed Saad, Hassan El Shafei - Ya Man HawahShakedown - At Night (Anyma x Layton Giordani Remix)KREAM & RUBACK - Se Que Quiere Calussa, Natti Natasha, Marco Tropeano - No PareSwedish House Mafia - Wait So LongSentinel, Alesso - Freedom Martin Garrix & Citadelle - Peace Of Mind Steff da Campo & Robbie Mendez - Cry Just A Little (Club Rework)Gabry Ponte, DES3ETT - La Bohème HI-LO, Tai Woffinden - Orange Theme Maurya Sevak - Mantra KSHMR & Ryos - The Chant KAAZE - Reach Out I'll Be There Naeleck x Sarah Reeves - State Of EuphoriaFrankyeffe, Amiley - Save Me 2025

01. Crumb Pit & Amanda Joy - Heart Already Broken [Dim Mak] 02. Makla & Filex - What You Want [New Noise] 03. Vincent ft Luma - Take Me Home [Dim Mak] 04. DIM MAK PICK OF THE WEEK: Laidback Luke & Linney - Gasoline [Dim Mak] 05. DIM MAK NEW RELEASE PLAYLIST: 2Deep - Donde Esta La Fiesta [Dim Mak En Fuego] 06. Dannic - Push Me [Dim Mak] 07. Steve Aoki x Lucas & Steve - Loco [Dim Mak] 08. Mike Posner - I Took A Pill In Ibiza (Trivecta Remix) [Dim Mak] 09. FRIDAY FLASHBACK: Party Thieves & Badvoid - Open Your Eyes [New Noise] 10. Dr. Apollo & Jordan Grace - Take Me Away [New Noise] 11. Tristan Chantz ft THAT808 - GNASTY [New Noise]   Guest Mix: Thomas Gold   1.Thomas Gold–Blue Monday 2.Thomas Gold & Offdata–Dynamite (Light It Up) 3.Hi-Lo, Green Velvet, Dajae-Lift Me Up w/Feenixpawl–In My Mind[Thomas GoldMashup] 4.Thomas Gold & Faustix–Pump It 5.Chester Young & Hackatone feat. SUVI–Genesis (Don Diablo Edit) 6.Laidback Luke–It Clicked 7.Da Boom, Nightcrawlers–Shout 8.John Summit & Hayla–Shiver (Thomas Gold & Lucas Butler Edit) 9.John Summit, Gorgon City–Is Everybody Having Fun 10.Morten, Artbat-Culture 11.Thomas Gold feat. Marvee Woods–Heaven Is In The Music   13. Steve Aoki & Randy y Jowell - Súbeteme Ahí [Dim Mak]

Amazon's Jeff Bezos and Lauren Sanchez were married in Venice over the weekend. SO...let's play the HI/LO game. Sanchez's Dolce and Gabana dress took 6 months to make. Is that too hi or too lo?

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

The family of a man who was struck while crossing a street in McCully is now suing the city. Why the family is making their case and what the city's response is. New admission fees are coming to Hilo's Panaewa Zoo. When they will begin and what the price hike is. State lawmakers pressured the head of the Public Utilities Commission to do more to bring down electric rates. We'll tell you the details of what else was discussed. See omnystudio.com/listener for privacy information.

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

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

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

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

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

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.